There were varying degrees of Romanization throughout Roman Dacia.	達契亞行省各處都有不同程度的羅馬化。
The most Romanized segment was the region along the Danube, which was predominately under imperial administration, albeit in a form that was partially barbarized.	最羅馬化的區段是多瑙河沿岸區域，這個區域過去主要受帝國統治，雖然有部分是以野蠻的形式來進行。
The population beyond this zone, having lived with the Roman legions before their withdrawal, were substantially Romanized.	超過此區域的人口因為曾在羅馬軍團撤退之前與軍團居住在一起，所以本質上相當羅馬化。
The final zone, consisting of the northern portions of Maramures, Crisana, and Moldavia, stood at the edges of Roman Dacia.	最後的區域，包括馬拉穆列什、克里沙那和摩達維亞的北邊部分，則是羅馬達契亞行省的邊緣。
Although its people did not have Roman legions stationed among them, they were still nominally under the control of Rome, politically, socially, and economically.	雖然其人民沒有羅馬軍團駐紮在其中，但在政治、社會和經濟方面，他們名義上仍受到羅馬控制。
These were the areas in which resided the Carpi, often referred to as the Free Dacians.	這些是經常被稱為自由達契亞人的卡爾皮人居住過的地區。
In an attempt to fill the cities, cultivate the fields, and mine the ore, a large-scale attempt at colonization took place with colonists coming in "from all over the Roman world".	隨著「來自羅馬世界各處」的開拓者嘗試填補城市、開墾野地和開採礦石，發生了殖民化的大規模攻佔。
The colonists were a heterogeneous mix: of the some 3,000 names preserved in inscriptions found by the 1990s, 74% (c. 2,200) were Latin, 14% (c. 420) were Greek, 4% (c. 120) were Illyrian, 2.3% (c. 70) were Celtic, 2% (c. 60) were Thraco-Dacian, and another 2% (c. 60) were Semites from Syria.	開拓者由不同的族裔混合組成：在 1990 年代找到的銘文所保存約 3,000 個名字中，有 74% (約 2,200 個) 是拉丁人，14% (約 420 個) 是希臘人，4% (約 120 個) 是伊利里亞人，2.3% (約 70 個) 是凱爾特人，2% (約 60 個) 是瑟雷斯達契亞人，還有其他 2% (約 60 個) 是來自敘利亞的閃米特人。
Regardless of their place of origin, the settlers and colonists were a physical manifestation of Roman civilisation and imperial culture, bringing with them the most effective Romanizing mechanism: the use of Latin as the new lingua franca.	無論移民者和開拓者的原居地為何，他們都是羅馬文明及帝國文化的具體展現，因為他們帶來了最有效的羅馬化機制：使用拉丁文作為新的通用語。
The first settlement at Sarmizegethusa was made up of Roman citizens who had retired from the legions.	薩爾米澤傑圖薩的第一批移民是由軍團退休的羅馬公民組成。
Based upon the location of names scattered throughout the province, it has been argued that, although places of origin are hardly ever noted in epigraphs, a large percentage of colonists originated from Noricum and western Pannonia.	有人認為，根據散佈在該省各處的名稱所在地點，雖然碑文中幾乎未曾註記過原居地，還是有很大比例的開拓者是源自諾里庫姆和西潘諾尼亞。
Specialist miners (the Pirusti tribesmen) were brought in from Dalmatia.	專業礦工 (皮魯斯蒂部落成員) 從達爾馬提亞引進。
These Dalmatian miners were kept in sheltered communities (Vicus Pirustarum) and were under the jurisdiction of their own tribal leadership (with individual leaders referred to as princeps).	這些達爾馬提亞礦工被看守在庇護社區 (維庫斯皮魯斯塔魯姆) 並由他們自己的部落領導管轄 (個別領導者稱為第一公民)。
An estimated 50,000 troops were stationed in Dacia at its height.	在巔峰時期，估計有 50,000 支部隊駐紮在達契亞。
At the close of Trajan's first campaign in Dacia in 102, he stationed one legion at Sarmizegetusa Regia.	102 年，圖拉真在達契亞的第一場戰役結束時，將一支軍團駐紮在薩爾米澤傑圖薩雷吉亞。
With the conclusion of Trajan's conquest of Dacia, he stationed at least two legions in the new province – the Legio IV Flavia Felix positioned at Berzobis, and the Legio XIII Gemina stationed at Apulum.	圖拉真對達契亞的征戰結束後，在新的省駐紮了至少兩支軍團──幸運者弗拉維烏斯第四軍團駐紮在貝爾索比斯，而第十三雙子軍團駐紮在阿普魯姆。
It has been conjectured that there was a third legion stationed in Dacia at the same time, the Legio I Adiutrix.	據推測，同時還有第三支軍團駐紮在達契亞，也就是第一輔助軍團。
However, there is no evidence to indicate when or where it was stationed, and it is unclear whether the legion was fully present, or whether it was only the vexillationes who were stationed in the province.	但是沒有證據顯示它在何時或何處駐紮，因此無法確定該軍團是否充分存在，或者它是否僅為駐紮在該省的支隊。
Hadrian, the subsequent emperor, shifted the fourth legion (Legio IV Flavia Felix) from Berzobis to Singidunum in Moesia Superior, suggesting that Hadrian believed the presence of one legion in Dacia would be sufficient to ensure the security of the province.	繼任的皇帝哈德良將第四軍團 (幸運者弗拉維烏斯第四軍團) 從貝爾索比斯調到上默西亞的辛吉杜努姆，這顯示哈德良認為達契亞有一個軍團就足以確保該省的安全。
The Marcomannic Wars that erupted north of the Danube forced Marcus Aurelius to reverse this policy, permanently transferring the Legio V Macedonica from Troesmis (modern Iglița in Romania) in Moesia Inferior to Potaissa in Dacia.	在多瑙河北部爆發的馬科曼尼戰爭迫使馬可·奧理略逆轉了此政策；他將第五馬其頓軍團從下默西亞的特洛埃斯米斯 (現今在羅馬尼亞的伊斯特拉) 永久調動至達契亞的波塔薩。
The Kingston Fossil Plant is located on a peninsula at the junction of the Emory River (to the north) and Clinch River (to the south and east), just over 4 miles (6.4 km) upstream from the latter's mouth along the Tennessee River.	金斯頓化石燃料發電廠位於埃默里河 (以北) 和克林奇河 (以南和以東) 匯合處的半島上，就在後者的河口上游 4 英哩 (6.4 公里) 處田納西河岸上。
Watts Bar Dam, located along the Tennessee 38 miles (61 km) downstream from the mouth of the Clinch, impounds a reservoir (Watts Bar Lake) that spans a 72-mile (116 km) stretch of the Tennessee (to Fort Loudoun Dam), the lower 23 miles (37 km) of the Clinch (to Melton Hill Dam), and the lower 12 miles (19 km) of the Emory.	瓦茲巴爾水壩位於克林奇河河口下游 38 英哩 (61 公里) 的田納西河沿岸，所圍起的貯水區 (瓦茲巴爾湖) 橫跨田納西河 (往勞登堡水壩) 72 英哩 (116 公里) 河段、克林奇河 (往梅爾頓丘水壩) 下方 23 英哩 (37 公里)，以及埃默里河下方 12 英哩 (19 公里)。
The plant, originally known as the Kingston Steam Plant, began operations in 1954, primarily to provide electricity to atomic energy installations at nearby Oak Ridge.	這間發電廠原本稱為金斯頓蒸氣發電廠，在 1954 年開始營運，主要為附近橡樹嶺的核子動力設備提供電力。
The plant contains nine units with a combined generating capacity of 1,398 megawatts, and burns about 14,000 tonnes (14,000,000 kg) of coal every day.	發電廠包含九個機組，總發電量 1,398 百萬瓦特，且每天燃燒約 14,000 公噸 (14,000,000 公斤) 的煤。
The plant's ash pond disposal area is located immediately north of the plant along the Emory River shore.	發電廠的灰塘處置區就位在發電廠北邊的埃默里河河岸上。
The ash pond, which was impounded by a dike that rose 60 feet (18 m) above the winter level and 741 feet (226 m) above sea level, contained a watery slurry of fly ash generated by the burning of finely ground coal at the power plant.	灰塘以冬季水位以上 60 英呎 (18 公尺)、海平面以上 741 英呎 (226 公尺) 的堤防圍起，含有發電廠燃燒精細研磨的煤所產生的飛灰泥漿。
Fly ash is the fine particulate pollutants produced by the combustion of coal, which are collected rather than allowing them to escape into the atmosphere, then mixed with water and pumped into a retaining pond, where the ash gradually settles to the bottom.	飛灰是燃煤所產生的精細粒狀汙染物，不能讓它逸出到大氣中，而是必須收集起來，然後與水混合並灌注到滯留池中，讓灰燼在池內逐漸沉澱到底部。
Once the particulate matter settles out, it is dredged and moved to drying cells.	一旦粒狀物沉澱出來，就會將它挖出並移至乾燥槽。
The 84-acre (0.34 km²) unlined above-ground dredge cell was surrounded by 60-foot (18 m) tall earthen dikes.	這個 84 英畝 (0.34 平方公里) 無襯砌的地上疏濬槽是用 60 英呎 (18 公尺) 高的土製堤防圍住。
The dike breach occurred at the northwest corner of the dewatering pond, overlooking the Swan Pond Creek spillway.	堤壩決口發生在脫水槽的西北角，就在天鵝池溪溢洪道的上方。
TVA had reportedly known about the dangers of using wet storage ponds for coal ash since a 1969 spill in Virginia in which coal ash seeped into the Clinch River and killed countless fish.	據報導，TVA 自 1969 年維吉尼亞州外洩事件後就瞭解到使用濕式煤灰儲存槽的危險性；當時在維吉尼亞州，煤灰滲進克林奇河並殺死了無數的魚隻。
In the 1980s, TVA engineers raised concerns about the stability of ash ponds.	1980 年代，TVA 工程師曾提出有關灰塘穩定性的疑慮。
The utility repeatedly found leaks in levees and seepage in the soil at many of their ash ponds, including the ones at Kingston.	這間公用事業公司屢次在其多個灰塘發現堤防裂縫和土壤滲流，包括在金斯頓的灰塘。
However, TVA continued to make small repairs instead of switch to dry storage systems which would have cost ratepayers tens of millions.	但是，TVA 仍繼續進行小型維修，而不是改用可能會花費地方納稅人數千萬元的乾式儲存系統。
At the time of the disaster, TVA was using wet storage at six of their 11 coal-fired power plants.	發生災害的當下，TVA 正在其 11 座燃煤發電廠中的六座使用濕式儲存。
Leaks at the Kingston ash ponds had reportedly been taking place since the early 1980s, and local residents said that the spill was not a unique occurrence.	據報導，金斯頓灰塘的裂縫從 1980 年代初期就一直在發生，當地居民也表示滲漏並非單一事件。
The 1960s-era pond had been observed leaking and being repaired nearly every year since 2001.	自 2001 年起，幾乎每年都有人發現這座 1960 年代的池塘發生滲漏和進行維修。
The two worst leaks occurred in 2003 and 2006 in which TVA suspended all ash deposits in the ponds to allow the dredge cells to dry out and stabilize.	兩次最嚴重的滲漏發生在 2003 年和 2006 年，當時 TVA 暫停池塘中的所有灰渣沉積，以便疏濬槽乾燥並穩定下來。
An October 2008 inspection report had identified a "minor leak" in the faulty wall, but the report was not finalized.	2008 年 10 月的一項檢查報告在問題牆面發現一個「小型滲漏」，但該報告並未獲得最終確認。
The spill began sometime between midnight and 1 a.m.	滲漏是在午夜到上午 1 點之間的某個時候開始。
In January 1973 Young was made Chief of the Space Shuttle Branch of the Astronaut Office.	1973 年 1 月，楊恩獲任太空人辦公室太空梭分部主任。
In January 1974, he became Chief of the Astronaut Office after the retirement of Alan Shepard.	1974 年 1 月，他在艾倫·雪帕德退休之後成為太空人辦公室主任。
Young flew two missions of the Space Shuttle, both aboard the Space Shuttle Columbia.	楊恩飛行過兩個太空梭任務，兩者都是在哥倫比亞號太空梭上。
He commanded the program's 1981 maiden orbital flight, STS-1, and in 1983 commanded STS-9, which carried the first Spacelab module.	他曾指揮該計畫的 1981 年初次軌道飛行 (STS-1)，並在 1983 年指揮 STS-9，運送了第一間太空實驗室模組。
In 1986 he was in line to make a record seventh space flight on STS-61-J to deploy the Hubble Space Telescope, but the Space Shuttle Challenger disaster earlier that year had delayed NASA's schedule.	1986 年，他有相當大的機會能夠在 STS-61-J 創下第七次太空飛行以部署哈伯太空望遠鏡的紀錄，但是該年年初的挑戰者號太空梭災難延誤了 NASA 的行程。
Young was openly critical of NASA management following the Challenger disaster, and in April 1987 was made Special Assistant to JSC Director Aaron Cohen for Engineering, Operations and Safety.	楊恩在挑戰者災難之後公開批評 NASA 的管理部門，並在 1987 年 4 月獲任 JSC 主任亞倫·科恩在工程、營運及安全的特別助理。
NASA denied that his criticism triggered the move, although Young and industry insiders believed that was the reason for the reassignment.	NASA 否認他的批評引發此舉，雖然楊恩和業界內部人士認為那就是重新派任的原因。
In February 1996, he was assigned as Associate Director (Technical) JSC.	1996 年 2 月，他獲指派為 JSC 副主任 (技術)。
During his NASA career, Young logged more than 15,000 hours of training, mostly in simulators, to prepare for positions on eleven spaceflights in prime and backup crew positions.	在楊恩的 NASA 職業生涯期間，他記錄了超過 15,000 小時的訓練，大部分是在模擬機內，目的是為十一場太空飛行的首選和後備職位做好準備。
Young worked for NASA for 42 years and announced his retirement on December 7, 2004.	楊恩在 NASA 工作了 42 年，並在 2004 年 12 月 7 日宣布退休。
He retired on December 31, 2004, at the age of 74, but continued to attend the Monday Morning Meeting at the Astronaut Office at JSC for several years thereafter.	他在 2004 年 12 月 31 日時退休，當時 74 歲，但之後數年仍繼續參加 JSC 太空人辦公室的週一晨會。
He logged more than 15,275 hours flying time in props, jets, helicopters, and rocket jets; more than 9,200 hours in T-38s; and 835 hours in spacecraft during six space flights.	他在輔具、噴射機、直升機和火箭噴射器記錄了超過 15,275 小時的飛行時間；在 T-38 有超過 9,200 小時；而在六次太空飛行期間的太空船內有 835 小時。
On April 12, 2006, Young appeared at the 25th anniversary of the STS-1 launch at the Kennedy Space Center Visitor Complex, along with pilot Robert Crippen.	2006 年 4 月 12 日，楊恩在甘迺迪太空中心參觀園區的 STS-1 發射 25 週年紀念與駕駛員羅伯特·克里彭一起現身。
The two spoke of their experiences during the flight.	他們兩位都談到飛行期間的體驗。
In 2012, Young published an autobiography, Forever Young.	2012 年，楊恩出版了自傳《永遠的楊恩》。
Young married Barbara White of Savannah, Georgia, and they had two children, Sandra and John.	楊恩與來自喬治亞州薩凡納的芭芭拉·懷特結婚，育有兩名子女，珊卓拉和約翰。
They were divorced in 1972 after 16 years of marriage.	他們在結婚 16 年之後於 1972 年離婚。
He later married Susy Feldman, and lived in El Lago, Texas, a suburb of Houston.	他之後與蘇西·費爾德曼結婚，並居住在德州休士頓的郊區艾爾拉哥
Young died on January 5, 2018, at his home in Houston of complications from pneumonia.	楊恩於 2018 年 1 月 5 日因肺炎併發症逝世於他在休士頓的家中。
He was 87.	享年 87 歲。
Abbotsford Bridge is a steel Allan truss bridge that is about 240 m (790 ft) in length.	艾柏茲弗德橋是鋼製艾倫式桁架橋，長度約 240 公尺 (790 英呎)。
The bridge also contains a single lift span about 20 m (66 ft) in length, which is still in working order.	這座橋也含有長度約 20 公尺 (66 英呎) 的單一升降節間，而且至今仍正常運作。
It is two lanes wide through most of its length, but the lift span is only capable of carrying a single lane.	它的全長大部分為兩車道寬，但是升降節間只能載運單一車道。
The entire bridge has been marked with a single lane and has traffic lights on both ends to control vehicular flow.	整座橋都標示為單一車道，而且兩端都有交通號誌來控制車流。
The bridge was completed in 1928 by the NSW Department of Public Works and, although opened as a traffic bridge, it was designed to carry the loads required for a railway, once the Mildura railway line had been extended over the bridge.	這座橋由 NSW 公共工程部門在 1928 年完工，而且雖然開放作為交通橋，它原本的設計是在米爾杜拉鐵路線延伸至橋上之後，作為鐵路所需的負重乘載。
The line was never extended beyond Yelta, where the terminus remains to this day.	該路線從未延伸超過耶爾塔，也就是至今的終點站。
The location of the bridge was thought to be convenient, as it provided a link to the Sturt Highway without travelling farther upstream to Mildura.	這座橋的地點被認為相當便利，因為它提供與斯圖特公路的連結，不需向上行經更遠到米爾杜拉。
It is the only remaining steel truss bridge with a lift span on the Murray, although other lifting bridges still exist along the river.	雖然墨瑞河沿岸仍有其他升降橋，但它是河上唯一僅存具備升降節間的桁架橋。
The bridge was built after the decline in commercial river traffic on the Murray.	這座橋是在墨瑞河的商運河運量下降之後建造的。
Due to its significance to the local area, it has been listed on the NSW State Heritage Register.	因為它對當地區域具有重要性，已名列在 NSW 州遺產登記上。
The nearby town of Wentworth was an important river port from which wool was shipped to the coast, and as such there was a variety of traffic in the area.	附近的溫特沃斯市鎮是重要的河港，羊毛是從該河港運送到海岸，也因此該區域有許多種類的交通。
In the 1890s, irrigated farming greatly expanded in Sunraysia region which is known for its fruit production, and traffic volumes increased further.	在 1890 年代，灌溉農作在以其水果生產聞名的桑瑞西亞地區大幅擴展，交通量也進一步提高。
It was decided to install a punt at this location (then known as Abbot's Ford).	人們決定在此地點 (之後稱為艾伯茲弗德) 安裝平底船。
New South Wales and Victoria had signed an agreement towards constructing bridges for railways over the Murray to serve the settlements on the northern side.	新南威爾斯和維多利亞簽署了一項協議，為墨瑞河上的鐵路建造橋墩以服務北邊的聚落。
In 1923, a report was released that recommended going ahead with the building of four bridges, one of those being the future Abbotsford Bridge.	1923 年發表了一項報告建議繼續建造四座橋，其中一座就是日後的亞伯茲弗德橋。
It was said a bridge in this area would benefit Curlwaa, Wentworth, and a proposed irrigation scheme to the north.	據說此區域的橋會使庫爾瓦、溫特沃斯和北邊規劃的灌溉方案受益。
The cost was estimated at £78,000.	成本估計為 78,000 英鎊。
It had been considered that it might be appropriate to combine these four bridges with locks, but this idea was rejected due to siting concerns.	有人認為以水閘將這四座橋結合在一起可能是適當的，但是此構想因為選址問題而遭到否決。
In 1924, residents of nearby settlements urged construction of the railway line to the proposed bridge site, but they were told this extension of the line was to be delayed.	1924 年，附近聚落的居民極力主張建造通往提案橋址的鐵路線，但是被告知此路線的延伸有所延誤。
Within that year it was decided that a bridge was to be constructed due to increased traffic volume, and tenders were let for manufacture of the bridge spans, construction of abutments and piles, and transport of materials to the future construction site.	在那一年內，因為交通量的增加而決定建造一座橋，並針對橋跨的製造、橋座和樁的建造，以及對日後建造地點的物料運送等發包投標。
Achebe expanded this criticism when he presented a Chancellor's Lecture at Amherst on 18 February 1975, 'An Image of Africa: Racism in Conrad's "Heart of Darkness"'.	阿切貝在 1975 年 2 月 18 日於阿姆赫斯特進行「非洲印象：康拉德《黑暗之心》中的種族歧視」校長座談時詳述了這個評論。
Decrying Joseph Conrad as "a bloody racist", Achebe asserted that Conrad's famous novel dehumanises Africans, rendering Africa as "a metaphysical battlefield devoid of all recognisable humanity, into which the wandering European enters at his peril."	阿切貝譴責約瑟夫·康拉德是「該死的種族主義者」，且聲稱康拉德的知名小說使非洲人失去人性，將非洲描繪成「全然沒有任何可辨識之人性的抽象戰場」，而四處遊蕩的歐洲人自冒風險進入其中。
Achebe also discussed a quotation from Albert Schweitzer, a 1952 Nobel Peace Prize laureate: "That extraordinary missionary, Albert Schweitzer, who sacrificed brilliant careers in music and theology in Europe for a life of service to Africans in much the same area as Conrad writes about, epitomizes the ambivalence.	阿切貝也討論了來自 1952 年諾貝爾和平獎得主阿爾伯特·史懷哲的一段引言：「那位非凡的傳教士阿爾伯特·史懷哲，犧牲了在歐洲的音樂和神學等出色的事業，在幾乎與康拉德所寫的相同地區為非洲人奉獻一生，正體現了這種矛盾心態。
In a comment which has often been quoted Schweitzer says: 'The African is indeed my brother but my junior brother.' And so he proceeded to build a hospital appropriate to the needs of junior brothers with standards of hygiene reminiscent of medical practice in the days before the germ theory of disease came into being." Some were surprised that Achebe would challenge a man honoured in the West for his "reverence for life".	史懷哲在一段經常被引用的評論中說：『非洲人確實是我的兄弟，不過是我的學弟。』於是他運用疾病的細菌理論誕生前之醫療作法的懷舊衛生標準，開始建造適合學弟需求的醫院。」對於阿切貝挑戰一位因為「敬畏生命」在西方國家備受崇敬的男人，有些人感到相當驚訝。
The lecture caused a storm of controversy, even at the reception immediately following his talk.	這段演說引發激烈的爭議，甚至在他談話之後的接待會也是。
Many English professors in attendance were upset by his remarks; one elderly professor reportedly approached him, said: "How dare you!", and stormed away.	許多出席的英國教授對他的註解感到不滿；據報導，一位年長的教授走近他說：「你好大的膽子！」，然後怒氣沖沖地離開。
Another suggested that Achebe had "no sense of humour", but several days later Achebe was approached by a third professor, who told him: "I now realize that I had never really read Heart of Darkness although I have taught it for years." Although the lecture angered many of his colleagues, he was nevertheless presented later in 1975 with an honorary doctorate from the University of Stirling and the Lotus Prize for Afro-Asian Writers.	另一人指稱阿切貝「沒有幽默感」，但是幾天後第三位教授聯繫阿切貝，並告訴他：「我現在才發現我從未真正讀過《黑暗之心》，雖然我已經教了好多年。」雖然這場演說激怒了多位同仁，他之後仍在 1975 年獲頒斯特靈大學的榮譽博士以及亞非作家的荷花文學獎。
The first comprehensive rebuttal of Achebe's critique was published in 1983 by British critic Cedric Watts.	針對阿切貝的評論所提出的首次全面反駁在 1983 年由英國評論家塞德里克·沃茨發表。
His essay "A Bloody Racist: About Achebe's View of Conrad" defends Heart of Darkness as an anti-imperialist novel, suggesting that "part of its greatness lies in the power of its criticisms of racial prejudice." Palestinian–American theorist Edward Said agreed in his book Culture and Imperialism that Conrad criticised imperialism, but added: "As a creature of his time, Conrad could not grant the natives their freedom, despite his severe critique of the imperialism that enslaved them".	他的論文《該死的種族主義者：關於阿切貝對康拉德的觀點》以反帝國主義小說來捍衛《黑暗之心》，指出「其部分偉大之處在於它對種族偏見批評的力量。」巴勒斯坦裔美籍理論家愛德華·薩依德在他的《文化與帝國主義》一書中同意康拉德對帝國主義有所批評，但是補充說：「身為他所在時代的產物，儘管康拉德對奴役原住民的帝國主義有所嚴厲批評，也無法賦予他們自由」。
Building on Watts and Said, Nidesh Lawtoo argued that "underneath the first layer of straightforward opposition ... we find an underlying mimetic continuity between Conrad's colonial image of Africa [in Heart of Darkness] and Achebe's postcolonial representation" in Things Fall Apart.	繼沃茨和薩伊德之後，尼德許·勞圖主張，在《生命中不可承受之重》當中，「在第一層直接了當的反對意見之下……我們發現康拉德 [在《黑暗之心》中] 的非洲殖民印象與阿切貝的後殖民表述之間，有隱含在其中的模仿連貫性。
Achebe's criticism has become a mainstream perspective on Conrad's work.	阿切貝的批評已成為對於康拉德作品的主流觀點。
The essay was included in the 1988 Norton critical edition of Conrad's novel.	這篇論文被收入 1988 年康拉德小說的諾頓評論版中。
Editor Robert Kimbrough called it one of "the three most important events in Heart of Darkness criticism since the second edition of his book ..." Critic Nicolas Tredell divides Conrad criticism "into two epochal phases: before and after Achebe." Asked frequently about his essay, Achebe once explained that he never meant for the work to be abandoned: "It's not in my nature to talk about banning books.	主筆羅伯·金布羅將它稱為「自他的書籍第二版之後在《黑暗之心》評論方面最重要的三個事件之一……」評論家尼古拉斯·特雷德爾將康拉德評論劃分成「兩個劃時代階段：阿切貝之前和之後。」因為經常被問及有關他的論文，阿切貝曾經說明他從未意圖讓該作品遭到棄用：「我的本質並非討論禁止書籍。
I am saying, read it – with the kind of understanding and with the knowledge I talk about.	我的意思是，好好閱讀它──運用理解的本質和我提到的知識。
And read it beside African works." Interviewed on National Public Radio with Robert Siegel, in October 2009, Achebe remains consistent, although tempering this criticism in a discussion entitled "'Heart of Darkness' is inappropriate": "Conrad was a seductive writer.	並且以與非洲作品相比的方式來閱讀。」在全國公共廣播電台與羅伯特·西格爾訪談後，在 2009 年 10 月，阿切貝仍堅持己見，但是在一場名為「《黑暗之心》並不得當」的討論中將淡化了批評：「康拉德是引人注意的作家。
He could pull his reader into the fray.	他能夠將讀者引進紛爭。
And if it were not for what he said about me and my people, I would probably be thinking only of that seduction."	而且如果不是因為他對我和我的人民所做的評論，我可能只會想到那種誘因。」
When he returned to the University of Nigeria in 1976, he hoped to accomplish three goals: finish the novel he had been writing, renew the native publication of Okike, and further his study of Igbo culture.	1976 年返回奈及利亞大學時，他希望達成三個目標：完成他正在寫的小說、重做《奧基凱》的原生版，以及繼續深造他對伊博文化的研究。
He also showed that he would not restrict his criticism to European targets.	他也表明，他不會只將批評限制在歐洲的目標上。
In an August 1976 interview, he lashed out at the archetypal Nigerian intellectual, who is divorced from the intellect "but for two things: status and stomach.	在 1976 年 8 月的一場訪談中，他大力批評與知識界脫鉤的原型奈及利亞知識分子「不就是為了兩件事：地位和肚子。
On August 3, 2011, contestants Ricky Jaime and Sasha Mallory danced to "Schoolin Life" in Top 6 Perform round of the eighth season of the American television reality program and dance competition So You Think You Can Dance.	2011 年 8 月 3 日，參賽者瑞奇·傑米和薩夏·馬洛里在美國電視實境節目和舞蹈競賽《舞林爭霸》第八季的前 6 強表演回合中跳了《學校生活》。
Their dance performance was choreographed by Kumari Suraj.	他們的舞蹈表演是由庫馬里·蘇拉杰所編排。
Gwen Orel of The Wall Street Journal further described their performance during a review of that episode of the show: "He's in a fedora, and she's got a cute short swingy sheer skirt, with thigh high stockings and a garter belt, and a sheer purple blouse.	華爾街日報的葛溫·奧瑞爾在節目的該集評論中進一步形容了他們的表演：「他戴著紳士帽，她則是穿著一件可愛的搖擺透明短裙，搭配高度到大腿的長筒襪及吊襪帶，以及透明的紫色短上衣。
I don’t get what this style really is, it seems to have a lot of arm movements, and some crouching jumps.	我不懂這個風格到底是什麼，它似乎有大量的手臂動作和一些蹲跳。
He doesn’t look quite sharp enough next to her.	他在她旁邊看起來不夠顯眼。
His split leap is phenomenal."	他的分腿跳非常傑出。」
The base slab, or pylon, of the tomb monument rests on a 38-centimetre (15 in) high plinth, separated by a cornice and concave mouldings.	紀念墓的底板 (或稱為塔門) 坐落在 38 公分 (15 英吋) 的高基座上，由飛簷和凹面飾材分隔。
The pylon is 1.39 metres (4.56 ft) high and 2.02 metres (6.63 ft) wide, decorated with a frieze of winged angel heads (perhaps seraphim) and garlands and ribbons.	門塔為 1.39 公尺 (4.56 英呎) 高和 2.02 公尺 (6.63 英呎) 寬，以帶翅膀的天使頭部 (可能是熾天使) 飾帶、花環和緞帶裝飾。
Above the pylon, separated by the cornice, are the three Virtues—from left to right, Faith, Charity, and Hope—in shell niches, separated by four Corinthian fluted pilasters.	在門塔上方，由飛簷所分隔的是貝殼壁龕內的三個德天使，由左至右為「信」、「望」和「愛」，以科林斯柱式波形壁柱區隔。
Such a motif is unprecedented in Tuscan funerary sculpture but found at this date in Venice, Padua, and especially Cossa's native Naples.	這種裝飾圖案在托斯坎喪葬雕塑中前所未見，但當時在威尼斯、帕多瓦以及特別是科薩的出生地拿坡里都有發現。
As a result, excursions to Venice have been suggested for both Michelozzo and Donatello.	因此，米開羅佐和多那太羅兩人獲建議到威尼斯進行短程旅行。
However, Janson suggests that one "need not go all the way to Venice" to find such motifs.	但是，簡森建議「不需要大老遠前往威尼斯」尋找這類裝飾圖案。
Outside Florence, Virtues were common on tombs, with the cardinal Virtues used for laymen, and the theological virtues reserved for ecclesiastics, including the Brancaccio tomb.	在佛羅倫斯之外，德天使在墳墓上相當常見 (平信徒使用樞德)，三超德則是保留為傳教士使用，包括布蘭卡奇樞機墓。
However, the Cossa Virtues, from their hair to their sandals, are more thoroughly antique.	但是，科薩德天使從頭髮到涼鞋是更徹底的古希臘和古羅馬風格。
Donatello also produced two similar bronze Virtues for the Siena Baptistry, whose chronological relationship to the Cossa Virtues is unclear.	多那太羅也為錫耶納洗禮堂製作了兩座類似的銅製德天使，它們與科薩德天使的時序關係不得而知。
The 1.05-metre (3.44 ft) tall Faith, to the right of Charity, is holding a Eucharistic chalice; the 1.07-metre (3.51 ft) tall Charity is holding a cornucopia and a brazier (or flaming vase); and the 1.06-metre (3.48 ft) tall Hope, to the left of Charity, has hands clasped in prayer.	在「愛」右邊 1.05 公尺 (3.44 英呎) 高的「信」拿著聖體聖杯；1.07 公尺 (3.51 英呎) 高的「愛」拿著豐裕之角和火盆 (或火瓶)；而在「愛」左邊 1.06 公尺 (3.48 英呎) 高的「望」則是雙手合十。
The central figure of Charity is the most antique, assimilating elements of Classical depictions of Abundantia, Ceres, and Juno, all of which were depicted with cornucopias in their left hands.	中間的人物「愛」最具古希臘和古羅馬藝術風格，吸收了阿布恩丹提亞、瑟雷斯和朱諾的經典描繪元素，而且上述所有的描繪都是左手拿著豐裕之角。
Besides underscoring the antiquity of the tomb monument, the main purpose of the tall yet poorly finished Virtues is to put additional vertical distance between the viewer and the effigy, which has the cumulative effect of de-emphasizing the peculiarities of Cossa, in favor of a generic pontiff (i.e. a potential line of Florentine popes), by blunting the "immediacy" of the trope of lying in state, which was otherwise dominant on Quattrocento wall tombs.	除了強調紀念墓的古希臘和古羅馬藝術風格以外，這座高聳但潤飾不足的德天使，主要是為了在觀賞者和雕像之間增添額外的垂直距離，透過減弱死者平躺狀態象徵的「既視感」(這在文藝復興壁墓中是主流)，對於淡化科薩的奇特性、對總主教的支持 (亦即潛在的佛羅倫斯教宗路線) 有加成效果。
On top of the sarcophagus, the bier of the effigy is supported by lions whose shape mimics Trecento consoles.	在石棺上方，雕像的棺架是由外型模仿十四世紀螺形支架的獅子所支撐。
The lions may be based on the Florentine Marzocco, as if to mark John XXIII in the same manner as a conquered city-state.	這些獅子可能是以佛羅倫斯紋章獅子為基準樣式，彷彿以相同方式將若望二十三世標記為征服的城邦。
As Donatello's Marzocco for the papal apartment in Santa Maria Novella conveyed Florence's ambivalence towards Martin V (as both a source of prestige by visiting, and a potential adversary of the Republic), the lions supporting the bier contextualize the tomb monument's support for John XXIII's claim to the papacy by cementing it as a Florentine claim.	由於對聖塔瑪莉亞諾維拉的教皇公寓而言，多那太羅的紋章獅子傳達出佛羅倫斯對瑪爾定五世的矛盾心態 (因為兩者都是派駐的聲望來源，也是共和國的潛在敵手)，支撐棺架的獅子透過鞏固佛羅倫斯主張的方式，將紀念墓支持若望二十三世教皇地位的主張化為情境。
Yet, any iconographical interpretation of the lions must be taken with a grain of salt as lions are symbolically promiscuous, and are also seen as supports on earlier tombs, such as that of Lapo de' Bardi (d. 1342) in the Bargello.	但是，任何對獅子的圖像誌解譯都不得盡信，因為獅子有雜交的象徵，也在早期的墳墓中被視為支撐物，例如巴傑羅美術館中拉波·德·巴爾迪 (1342 年逝世) 的墳墓。
The bier and the pall spread over it are tilted towards the viewer with the lion supporting the head standing 2-centimetre (1 in) shorter, increasing the visibility of the effigy, especially the head.	棺架和攤開在其上的墓布向觀賞者的方向傾斜，且支撐頭部的獅子高度短了 2 公分 (1 英吋)，使得雕像更為顯眼，尤其是頭部。
The gilded-bronze, life-size effigy itself makes no attempt to argue for Cossa's papal status, dressing Cossa clearly in the costume of a cardinal; the bedding it rests on is of un-gilt bronze.	本身是擬金青銅且真人大小的雕像明確地穿上樞機主教的服裝，顯然主張著科薩的教皇地位；它所長眠的床墊是以非擬金青銅製成。
The opening in the 16th century of the sarcophagus confirmed that Cossa's actual burial clothes matched the effigy.	16 世紀時，石棺的開啟確認了科薩實際的壽衣與雕像相符。
There was no precedent for a three-dimensional gilded-bronze effigy on an Italian tomb monument; there was, however, a 6-foot (1.83 m) gilt bronze statue on the balcony of the Palazzo della Briada in Bologna commissioned by Pope Boniface VIII.	義大利紀念墓上先前未出現過立體的鍍銅雕像；不過，有一個由教宗波尼法爵八世委託在波隆那的比亞達宮露臺製作的 6 英呎 (1.83 公尺) 鍍金銅製雕像。
Chief Wiggum pulls Troy McClure over for dangerous driving.	維古姆警官以危險駕駛為由請特洛伊·麥克盧爾停靠到路邊。
Not wishing to be required to wear his glasses while driving, Troy goes to the DMV to get his license changed to remove the requirement.	因為不希望開車時必須戴著眼鏡，特洛伊前往監理所更換駕照以刪除此要求。
He offers to take DMV employee Selma Bouvier to dinner if she lets him pass the eye test, to which she agrees.	他提議，如果監理所員工塞爾瑪·布維爾讓他通過視力檢測，就請她吃晚餐，而她同意了。
After dinner, photographers notice Troy leaving with Selma and the story hits the news.	晚餐後，攝影師們注意到特洛伊與塞爾瑪一起離開，而該報導也躍上新聞版面。
The next day, Troy's agent, MacArthur Parker, calls and says that he can get work again if he continues seeing Selma.	隔天，特洛伊的經紀人麥克阿瑟·帕克來電表示，如果他繼續和塞爾瑪見面，就可以再次獲得工作。
Troy continues to date her and his career begins to recover.	特洛伊繼續和她約會，他的事業也開始恢復原狀。
On his agent's advice, Troy asks Selma to marry him; she agrees.	在經紀人的建議下，特洛伊向塞爾瑪求婚；她同意了。
The night before the wedding, a drunk Troy tells Homer the reason for his marriage: he doesn't really love Selma, and he just plans to use her as a sham wife to help further his career.	婚禮的前一晚，喝醉酒的特洛伊對荷馬訴說他結婚的原因：他並非真的愛塞爾瑪，他只是打算利用她虛假的妻子身分讓事業更上一層樓。
Although Homer fails to act, Marge and Patty try to explain it to Selma, who accuses them of just being envious.	雖然荷馬並未採取行動，不過美枝和帕蒂試著向塞爾瑪解釋，而塞爾瑪指責她們只是嫉妒。
She confronts Troy, who shamelessly admits that their marriage is a sham but explains she has everything she could want and will be "the envy of every other sham wife in town".	她向特洛伊對質，他厚著臉皮承認他們的婚姻是個幌子，但是解釋說，她什麼都能夠如願以償，而且將成為「鎮上所有其他虛假妻子忌妒的對象」。
Selma has doubts, but accepts the situation because she fears being alone.	塞爾瑪有所懷疑，但是因為害怕獨處而接受了這個情況。
Parker thinks he can get Troy the part of McBain's sidekick in McBain IV: Fatal Discharge, but concludes he will have a better chance if he has a family.	帕克認為他可以讓特洛伊在《麥克貝恩 4：致命排放》中擔任麥克貝恩的搭檔，但是斷定如果他成家會更有機會。
Troy and Selma try to conceive a child, but neither feels comfortable with their situation, and Selma finally leaves after deciding that bringing a child into a loveless family is wrong.	特洛伊和塞爾瑪試著懷孕，但是兩者都對所處的情況感到不自在，而塞爾瑪在決定讓孩子進到沒有愛的家是錯誤的之後，最後還是離開了。
During the first half of the end credits, news confirmed that Troy turns down the role of McBain's sidekick to direct and star in his own film, The Contrabulous Fabtraption of Professor Horatio Hufnagel.	在片尾字幕的前半段，有新聞確認了特洛伊拒絕麥克貝恩搭檔的角色，在自己的電影《何瑞修·赫夫納格教授的超棒發明》中自導自演。
Show runners Bill Oakley and Josh Weinstein were fans of actor Phil Hartman, who had been a recurring guest star since the second season.	節目統籌比爾·奧克利和喬許·威恩斯坦是演員菲爾·哈特曼的粉絲；菲爾·哈特曼曾在第二季之後固定客串。
They decided to produce an episode entirely about his character Troy McClure to give Hartman as much to do as possible.	他們決定製作一段完全圍繞在其角色特洛伊·麥克盧爾的影集，讓哈特曼盡情發揮。
Oakley wanted to explore Troy's character because he had never interacted with the show's other characters before, only appearing on television.	奧克利想要探索特洛伊的角色，因為他之前從未與這個節目的其他角色互動過，只在電視上出現。
The writers chose the plot idea of Troy's marriage to Selma Bouvier because she was "always marrying people".	編劇選擇了特洛伊與塞爾瑪·布維爾的婚姻情節構想，因為她「一直和人結婚」。
The episode's first draft was written by freelance writer Jack Barth, although the rest of the writing staff rewrote it.	這一集的第一部草稿是由自由作家傑克·巴爾思編寫，但其他編劇工作人員將它改寫了。
One aspect of the rewrite was the song "Dr. Zaius" from the Planet of the Apes musical, which the staff consider to be one of the greatest musical numbers ever written for The Simpsons.	改寫的其中一個層面是來自《浩劫餘生》音樂劇的歌曲「佐斯博士」，工作人員認為這首歌是為《辛普森家庭》所寫最棒的演奏歌曲之一。
Clair was created for The Cosby Show by series creator, comedian Bill Cosby.	克萊兒是影集創作者 (喜劇影星比爾·寇司比) 為《天才老爹》所創造出來。
Cosby originally pitched a series about a detective who solves crime using his wit and humor; Clair's earliest incarnation resembled his character's girlfriend, who is depicted as "a strong woman with her own career." Networks were not interested in developing the series, so Cosby opted for a somewhat more autobiographical approach instead.	寇司比原本的提案是有關一位警探運用機智和幽默解決刑案的系列影集；克萊兒的早期化身與該角色的女朋友相似，她被描寫成「擁有自己事業的女強人」。電視網對開發此影集沒有興趣，因此寇司比改為選擇較為自傳式的方法。
Cosby eventually based The Cosby Show on his stand-up comedy film Bill Cosby: Himself (1983), which heavily features jokes about his relationship with his wife and their interactions with their children.	寇司比最後根據他的單口喜劇電影《比爾·寇司比：他本人》(1983) 改編成《天才老爹》，該電影大量採用有關他與妻子的關係以及他們與孩子的互動等笑話。
Clair is based on Cosby's real-life wife Camille.	克萊兒是根據寇司比現實生活的妻子卡蜜兒所改編。
Although the role of the parents in the show evolved dramatically from The Cosby Show's initial inception to final production, the one idea that was retained from Cosby's detective series was the concept of a strong career woman.	雖然節目中的雙親角色從《天才老爹》最初到最終製作有大幅的改變，但是從寇司比警探系列影集中保留的唯一構想是女強人的概念。
When Cosby originally pitched The Cosby Show to NBC, it revolved around the life of a blue-collar couple; Clair was intended to be a plumber while the character's husband Cliff, portrayed by Cosby himself, was a limousine driver.	寇司比原本向 NBC 提案《天才老爹》時，是以一對藍領夫妻的生活為主題；克萊兒原本是水管工，該角色的丈夫克里夫 (由寇司比本人所飾演) 則是禮車司機。
Eventually, the idea of Clair working as a plumber was discarded and the character briefly became a Dominican housewife instead.	最後，克萊兒是水管工的構想遭到捨棄，且該角色短暫地換成多明尼加籍家庭主婦。
Inspired by Ricky Ricardo from the sitcom I Love Lucy, of whom Cosby was a fan, much of the show's humor would have been directly derived from Clair's tendency to revert to her native language Spanish when upset or agitated.	寇司比受到情境喜劇《我愛露西》中的瑞奇·里卡多激發靈感 (他是該劇的粉絲)，因此該影集的大多數幽默感是直接來自克萊兒生氣或焦慮時變回母語西班牙文的傾向。
Describing this concept as "the reverse of [I Love] Lucy," Cosby explained that the husband "would be the person that didn’t understand when she spoke Spanish" as opposed to the wife.	寇司比將這個概念形容成「[我愛] 露西的相反」，他解釋，這位丈夫「會是聽不懂西班牙文的人」，而不是妻子。
Camille and executive producers Marcy Carsey and Tom Werner eventually convinced Cosby that the series should feature a family that resembled their own more closely, specifically one headed by a pair of successful parents with white-collar professions.	卡蜜兒和執行製作人馬西·卡斯及湯姆·沃納最終說服寇司比，該影集的特色應該是與他們自己更相似的家庭；具體而言，就是由一對擁有白領職業的成功雙親所帶領的家庭。
Thus, Cosby relented and re-wrote Clair and Cliff into a lawyer and doctor, respectively.	因此，寇司比態度軟化，並將克萊兒與克里夫分別改寫成律師及醫師。
The idea of Clair being Dominican was abandoned before the pilot was filmed.	克萊兒是多明尼加人的構想在錄製試播集之前遭到捨棄。
However, the character still speaks some Spanish in the first episode and continues to speak the language periodically throughout the series, albeit not as frequently as Cosby had originally intended.	但是，該角色在第一集仍然會說一點西班牙語，且在整個系列影集中仍然會不時說該語言，雖然不像寇司比一原本想要的那樣頻繁。
Cosby borrowed several names from his real-life family for his fictional one; Clair's maiden name is Hanks, which she shares with Camille.	寇司比在他的虛構家庭中借用了他真實生活中的多個家人名字；克萊兒的娘家姓是漢克斯，與卡蜜兒相同。
The second season explores each character gaining more responsibility, none more-so than Clair, who is deliberately provided with more storylines to experience and new emotions to express in terms of her relationship with her husband and children.	第二季是探索各個角色獲得更多責任，尤其是克萊兒，她被刻意賦予了更多可體驗的故事情節，在與丈夫和孩子間的關係方面也有了新的情緒來表達。
Clair is portrayed by American actress Phylicia Rashad.	克萊兒是由美國女星菲莉西亞·拉沙德所飾演。
In addition to appearing in minor roles on both television and Broadway, Rashad had a recurring role as Courtney Wright on the soap opera One Life to Live before Cosby personally selected her to play his character's wife.	在寇司比親自選定拉沙德飾演他所演角色的妻子之前，她除了在電視和百老匯演出小角色以外，也在肥皂劇《僅此一生》中扮演常設角色寇特妮·懷特。
Several actresses auditioned for the role, the majority of whom tended to resort to angrily yelling and moving their heads in a manner similar to that of a bobblehead doll when scolding the child actors playing the character's children during their auditions.	多位女星參加了這個角色的徵選；徵選期間，大部分女星在責罵飾演該角色子女的兒童演員時，傾向於憤怒地大吼以及用類似搖頭人偶的方式搖動頭部。
However, Rashad's subtle interpretation was different from those of her competitors; when the actress screen tested opposite actor Malcolm Jamal-Warner, who would ultimately go on to portray son Theo, Rashad simply paused, stared and silently gave him "a look" instead of immediately scolding the character that, according to Cosby, meant "four or five things ... and none of them were good." At the end of Rashad's audition, Cosby announced "[Rashad is] Clair" to Carsey.	但是，拉沙德微妙的詮釋與競爭者不同；這位女星與最終與之後扮演兒子席奧的演員馬爾科姆-賈馬爾·華納進行對手戲試鏡時，拉沙德僅是停頓下來、瞪大眼睛且無聲地給他「一種眼神」，而不是立即責罵該角色；寇司比表示，那有「四或五種涵義……而且沒一個是好事。」拉沙德試鏡結束時，寇司比就向卡斯宣布「[拉沙德是] 克萊兒」。
Additionally, because Clair was still intended to be of Dominican heritage at the time, Rashad's own bilingualism and fluency in Spanish benefited her successful casting.	此外，因為當時仍然想讓克萊兒帶有多明尼加傳統，所以拉沙德本身精通雙語且西班牙語流利使她有利地成功演出。
Most of what is now NY 171 was improved to state highway standards as part of a project contracted out by the state of New York on July 12, 1916.	在 1916 年 7 月 12 日紐約州承包出去的專案中，現今為 NY 171 的大部分已依照州級公路標準進行提升。
The work covered the 5.10 miles (8.21 km) of the route outside of the Frankfort village limits.	工程涵蓋了法蘭克福特村邊界以外的 5.10 英哩 (8.21 公里) 路線。
The reconstruction was completed in the 1920s, and the Frankfort Gorge road was added to the state highway system as unsigned State Highway 1346 (SH 1346) by 1926.	重建工作在 1920 年代完成，而法蘭克福特峽谷路到 1926 年才以無符號州級公路 1346 (SH 1346) 加入州級公路系統。
In the 1930 renumbering of state highways in New York, SH 1346 became part of NY 171, which continued northeast to Main Street in Frankfort on several state and locally maintained streets.	在 1930 年為紐約的州級公路重新編號時，SH 1346 變成 NY 171 的一部分，並在行經多個州級和由當地維護的街道後，繼續往東北方延伸到法蘭克福特的主街。
At the time, Main Street was part of NY 5S, another route assigned as part of the renumbering.	當時主街屬於 NY 5S，也就是在重新編號時分配的另一個路線。
In the late 1960s, a limited-access highway was constructed between Utica and Ilion alongside NY 5S. The new highway became part of a rerouted NY 5S in the early 1970s.	1960 年代後期，在由提卡和伊利翁之間沿著 NY 5S 建了一條禁止進入的公路。這條新的公路在 1970 年代初期變成改道後 NY 5S 的一部分。
As a result, NY 171, which does not interchange with the highway, no longer connects to any other signed state routes.	因此，未與這條公路交會的 NY 171 就不再連通到任何其他有標誌的州級路線。
NY 171 is the only signed state highway in New York that is completely isolated from the remainder of the state highway system.	NY 171 是紐約州唯一完全未連接州級公路系統中其他公路的有標誌州級公路。
In 1992, Sony submitted plans that required approval by the New York City Planning Commission, in which it would take some of the open space in the building's atrium that had been used to obtain approval for additional floors on top of the building, and convert those areas into retail space.	1992 年，索尼提交了需要紐約城市規劃委員會核准的計畫，其中會占用該大樓中庭的部分開放空間；該中庭當時已用來取得大樓頂樓額外樓層的核准，並將這些區域改成零售空間。
In exchange, the company would expand the glass-enclosed pedestrian walkway with the addition of planters and public seating.	作為交換條件，該公司會以增加植栽和公共座位等方式來擴充玻璃圍籬的行人步道。
Sony expected that the proposed conversion of the 8,727 sq ft (810.8 m²) of public space could be converted into stores that could be leased at rates that The New York Times estimated could approach $200 per square foot.	索尼預期，所提案的 8,727 平方英呎 (810.8 平方公尺) 公共空間轉換，能夠轉換成可供租賃的商店，且《紐約時報》估計租金可能將近每平方英呎 200 美元。
The company noted that the space was underutilized as a public amenity because it was "dark, windy and noisy" and that its conversion to commercial space would provide "retail continuity" with the remainder of Madison Avenue.	該公司注意到這個空間作為公共設施並未獲得充分利用，因為它「昏暗、風大且吵雜」，而且將它轉換成商業空間將提供與麥迪遜大道其他部分的「零售業連貫性」。
By 1996, Sony had consolidated most of the operations for its Sony Music Entertainment division at 550 Madison Avenue, for which The New York Times noted that "such high-profile and elaborate space is appropriate and necessary." That same year, Sony acquired additional space across the street at 555 Madison Avenue, a 445,000 sq ft (41,300 m²) building built in the 1960s that underwent renovations of its lobby, windows, bathrooms and other common spaces in conjunction with Sony's lease.	到了 1996 年，索尼已將旗下的索尼音樂娛樂部門大部分營運整合到麥迪遜大道 550 號，《紐約時報》對此指出，「如此高調且精緻的空間既適當且必要。」同一年，索尼取得對街麥迪遜大道 555 號的額外空間；這是一棟建造於 1960 年代的 445,000 平方英呎 (41,300 平方公尺) 大樓，並隨著索尼的租約進行其大廳、窗戶、浴室和其他公共空間的翻新。
Sony signed leases through 2013 on an additional 90,000 sq ft (8,400 m²) on the sixth through ninth floors of the building, on top of an initial rental of 90,000 sq ft (8,400 m²) of space on the second through fifth floors of the building that it had made in 1995.	繼 1995 年一開始租用該大樓二到五樓 90,000 平方英呎 (8,400 平方公尺) 的空間之後，索尼又在該大樓六到九樓的額外 90,000 平方英呎 (8,400 平方公尺) 簽訂為期至 2013 年的租約。
Rents on the floors had averaged about $34 per square foot at the time.	當時這些樓層的租金平均約為每平方英呎 34 美元。
Sony connected the two buildings using fiber optic cables that were run under Madison Avenue and installed microwave communications equipment on the top of the 555 building.	索尼使用穿越麥迪遜大道下方的光纖纜線連接這兩棟大樓，並在 555 號大樓樓頂安裝了微波通訊設備。
Sony made these moves, which included early termination of leases on space in the surrounding area at 711 Fifth Avenue on the 43rd floor at 9 West 57th Street, as part of an effort to lower occupancy costs by bringing its businesses closer together.	索尼為了盡可能緊密集中業務來降低占用成本而進行這些動作，包括提前終止西 57 街 9 號 43 樓 (第五大道 711 號) 周邊區域空間的租約。
A cash-strapped AT&T sold the building to Sony in 2002 for $236 million, or $315 per square foot.	資金短缺的 AT&T 在 2002 年將該大樓以 2 億 3600 萬美元出售給索尼，也就是每平方英呎 315 美元。
The building incorporated the Sony Wonder Technology Lab, a multimedia hands-on tour through the world of media, located in a four-story annex accessible through a glass-roofed atrium that connects 55th and 56th Streets in mid-block.	這棟大樓併入了以多媒體實作導覽媒體世界的索尼奇幻科技實驗室 (位於四層樓附屬建築物內)，可透過連接街區中段第 55 和 56 街的玻璃屋頂中庭進入。
It was open on Tuesdays through Saturdays, and Sony described the free exhibits as a "technology and entertainment museum for all ages".	它在星期二到星期六間開放，而且索尼將免費的展覽形容為「適合全年齡的科技和娛樂博物館」。
During 2008, the museum's third and fourth floors underwent renovations that were completed in fall 2008.	2008 年間，該博物館的三樓和四樓進行了翻新，於 2008 年秋天完工。
Sony Wonder replaced Infoquest Center, a permanent telecommunications exhibition that had been built by AT&T.	索尼奇幻世界取代了 AT&T 先前設立的常設電子通訊展覽館 Infoquest 中心。
Sony permanently closed the lab on January 29, 2016.	索尼在 2016 年 1 月 29 日永久關閉了該實驗室。
On February 27, 2010, an accumulation of ice from the February 25–27, 2010 North American blizzard broke loose from an upper floor, breaking the glass ceiling of the atrium and injuring at least 15 inside who were attending a Purim celebration.	2010 年 2 月 27 日，在 2 月 25 到 27 日的 2010 北美暴風雪期間累積的冰層從上方樓層破裂掉落，擊破了中庭的玻璃天花板，並造成至少 15 位正在其中參加普珥節慶祝活動的人受傷。
In December 2012, bidding started on the building and in January 2013 Sony announced plans to sell the building to the Chetrit Group for $1.1 billion – $685 million more than it had paid for it.	2012 年 12 月開始有人對該大樓競標，而在 2013 年 1 月，索尼宣布以 11 億美元將該大樓出售給切特里特集團的計畫，比索尼當初支付的金額多了 6 億 8500 萬美元。
Sony leased back its offices there through 2016, when it moved its headquarters south to 11 Madison Avenue.	索尼將其位於該處的辦公室租回，一直到 2016 年將總部南移至麥迪遜大道 11 號為止。
The Chetrit Group planned to redevelop the building as a combination of condominiums and a hotel.	切特里特集團規劃將該大樓重建成公寓和旅館的組合。
Chetrit abandoned this plan and sold the building to Olayan and Chelsfield in 2016, relinquishing the "Sony Tower" name.	切特里特在 2016 年放棄了此計畫，並以讓與「索尼大廈」名稱的方式，將該大樓出售給奧拉揚和切斯特菲爾德。
McNicoll relinquished command of HMAS Australia in July 1954 before the cruiser was paid off and marked for disposal the following month, and he briefly returned to duties at the Navy Office.	麥克尼科在 1954 年 7 月艦艇遭到清償並標記為廢棄的前一個月交出了澳洲皇家海軍的指揮權，並短暫地回到海軍部擔任職務。
In November, he embarked for London to attend the Imperial Defence College as part of the 1955 course intake, which signified that he had been marked for senior command. McNicoll and his wife, Ruth, had separated in 1950 and their divorce, which cited adultery as the cause, was finalised in October 1956, while the former was still in London.	11 月，他因為加入 1955 年課程而出發前往倫敦就讀帝國國防大學；這表示他當時已具備資深指揮官的身分。麥克尼科及妻子茹絲在 1950 年分居，並在 1956 年 10 月以通姦為由確定離婚，當時前者仍在倫敦。
On 17 May the following year, McNicoll wed Frances Mary Chadwick, a journalist, in the Hampstead register office.	隔年的 5 月 17 日，麥克尼科在漢普斯特德結婚登記處與新聞工作者法蘭西絲·瑪莉·查德威克法蘭西絲結為連理。
Made acting rear admiral in January 1957, McNicoll was appointed as Head of the Australian Joint Service Staff in London.	麥克尼科在 1957 年 1 月成為代理少將後，在倫敦獲任澳洲聯合參謀長。
He returned to Australia in February 1958 and was selected to serve as Deputy Secretary (Military) at the Department of Defence; McNicoll's rank was made substantive in July that year.	他在 1958 年 2 月返回澳洲，並獲任國防部 (軍隊) 副部長；麥克尼科的軍階在該年的 7 月成為終身頭銜。
On 8 January 1960, McNicoll was posted to the Naval Board in Canberra as Second Naval Member and Chief of Personnel.	1960 年 1 月 8 日，麥克尼科被分發到坎培拉的海軍局擔任副海軍司令官暨人事局長。
As noted by historian Ian Pfennigwerth, McNicoll held this position at a time in which recruitment and retention in the Navy particularly lagged behind targets.	如歷史學家伊恩·芬尼格維斯所記載，麥克尼科擔任此職位的時期是海軍徵才及留任特別不及目標的時期。
McNicoll was additionally appointed as a trustee of the RAN Relief Trust Fund during this period.	麥克尼科在這段期間又另獲任澳洲皇家海軍救濟信託基金的受託管理人。
Completing his term on the Naval Board, McNicoll was posted as Flag Officer Commanding HM Australian Fleet on 8 January 1962 and hoisted his standard aboard HMAS Melbourne, the flagship of the RAN.	麥克尼科完成海軍局的任期後，在 1962 年 1 月 8 日獲派任為澳洲皇家艦隊海軍司令部總司令官，並在澳洲皇家海軍的主艦 (墨爾本號航空母艦) 上升起他的軍旗。
The Australian government had designated the role of the RAN to be primarily one of anti-submarine warfare, a posture which McNicoll thought unwise.	澳洲政府將澳洲皇家海軍指定為反潛作戰的首要角色，但麥克尼科認為此舉並不明智。
McNicoll argued that surface and air weapons posed a threat equal to that of submarines toward vessels in modern naval warfare.	麥克尼科主張，在現代海軍作戰中，地面及空中武器對船艦構成的威脅與潛艇構成的威脅相等。
As such, he campaigned for a contemporary aircraft carrier to replace that of HMAS Melbourne.	因此，他爭取以當代航空母艦來取代墨爾本號航空母艦。
The Army and Air Force opposed McNicoll's stance, and the government ultimately concluded that there was no strategic requirement for a new carrier in light of agreements contained in the Southeast Asia Treaty Organization.	陸軍與空軍都反對麥克尼科的立場，而政府最終裁定，依照東南亞公約組織中包含的協議，策略上並無新的航空母艦需求。
In any event, McNicoll experienced a particularly demanding tenure as Fleet Commander since the RAN was in the process of a complete overhaul of its order of battle and, as a consequence, he had to manage the introduction and deployment into service of six Ton-class minesweepers acquired from the Royal Navy, along with the first batch of Westland Wessex helicopters and modernised afloat support capabilities.	無論如何，麥克尼科擔任艦隊指揮官時都經歷了特別嚴苛的任期，因為當時澳洲皇家海軍正在對其戰鬥序列進行全面檢修，因此他必須著手推動和部署向皇家海軍取得的六噸級掃雷艇，以及第一批威塞克斯式直昇機和新式海上運補能力等的服役工作。
Furthermore, McNicoll was charged with the responsibility of ensuring Australian naval commitments to the Far East Strategic Reserve were met.	此外，麥克尼科還必須負責確保澳洲海軍實現對遠東戰略預備隊的承諾。
McNicoll's two-year term as Fleet Commander concluded on 6 January 1964, at which point he returned to the Naval Board as Fourth Naval Member and Chief of Supply.	麥克尼科的艦隊指揮官兩年任期於 1964 年 1 月 6 日結束，當時便返回海軍局擔任第四海軍成員兼補給長。
However, this post proved short-lived with his appointment as Flag Officer-in-Charge East Australia Area, headquartered at the land base HMAS Kuttabul in Sydney, from June that year.	但是，這個職位不過是曇花一現，因為他從該年的 6 月就獲任東澳區艦隊司令官，總部設在雪梨的澳洲皇家海軍艦艇庫塔布爾的地面基地。
In the 1965 New Year Honours, McNicoll was appointed a Companion of the Order of the Bath.	在 1965 年的新年授勛中，麥克尼科獲頒巴斯同袍勳章。
On 24 February 1965, McNicoll was promoted vice admiral and made Chief of Naval Staff (CNS) in succession to Vice Admiral Sir Hastings Harrington.	1965 年 2 月 24 日，麥克尼科晉升為副上將，並接替副上將赫斯廷斯·哈靈頓爵士的海軍參謀 (CNS) 一職。
By virtue of this position, McNicoll was head of the Naval Board and the functional commander of the RAN. McNicoll's term as CNS was characterised by a period of heightened activity for the RAN in light of the Australian commitments to the Indonesia–Malaysia Konfrontasi and the Vietnam War.	因為這個職位，麥克尼科成為海軍局局長以及澳洲皇家海軍的職掌指揮官。麥克尼科的 CNS 任期特點在於，由於澳洲對印尼-馬來西亞對抗及越戰有所承諾，因此澳洲皇家海軍在該時期提高了軍事活動。
The first movement is longer and more complex than any that Mozart had previously composed in the concerto genre.	第一樂章比莫札特先前在協奏曲類別中作過的任何曲子更慢且更複雜。
It is in ; among Mozart's 27 piano concertos, No. 4 in G Major, No.	它使用了 G 大調第 4 號、
11 in F major and No. 14 in E♭ major are the only others to commence in triple metre.	F 大調 11 號，和 E♭ 大調第 14 號，是莫札特 27 部唯一以三拍子開始的鋼琴協奏曲之一。
The first movement follows the standard outline of a sonata form concerto movement of the Classical period.	第一樂章遵循了古典音樂時期奏鳴曲式協奏曲樂章的標準輪廓。
It begins with an orchestral exposition, which is followed by a solo exposition, a development section, a recapitulation, a cadenza and a coda.	它以管弦樂呈示部為開頭，之後是獨奏呈示部、發展部、再現部、裝飾樂段和尾奏。
Within this conventional outline, Mozart engages in extensive structural innovation.	在這個傳統的輪廓內，莫札特投入了密集的結構創新。
The development begins with the piano repeating its entry to the solo exposition, this time in the relative major of E♭.	發展部以鋼琴重複進入獨奏呈示部的方式開頭，但這次是以相對的 E♭ 大調。
The Concerto No. 20 is the only other of Mozart's concertos in which the solo exposition and the development commence with the same material.	在莫札特的協奏曲中，第 20 號協奏曲是唯一另一個在獨奏呈示部和發展部使用相同素材開始的協奏曲。
In the Concerto No. 24, the material unfolds in the development in a manner different from the solo exposition: the opening solo motif, with its half cadence, is repeated four times, with one intervention from the woodwinds, as if asking question after question.	在第 24 號鋼琴協奏曲中，發展部的素材以不同於獨奏呈示部的方式展開：開場的獨奏動機及其裝飾樂段重複四次，並插入一次木管樂器，彷彿一再詢問問題一樣。
The final question is asked in C minor and is answered by a descending scale from the piano that leads to an orchestral statement, in F minor, of the movement's principal theme.	最後一個問題是以 C 小調提問，並以鋼琴的下行音階回答，以 F 小調進入樂章主題的管弦樂陳述。
The orchestral theme is then developed: the motif of the theme's fourth and fifth measures descends through the circle of fifths, accompanied by an elaborate piano figuration.	接著發展出管弦樂主題：主題第四和第五小節的動機透過五度圈下行，並伴隨著精心安排的鋼琴音型法。
After this, the development proceeds to a stormy exchange between the piano and the orchestra, which the twentieth-century Mozart scholar Cuthbert Girdlestone describes as "one of the few [occasions] in Mozart where passion seems really unchained", and which Tovey describes as a passage of "fine, severe massiveness".	在此之後，發展部開展成鋼琴和管弦樂之間的激烈交錯；二十世紀的莫札特學者卡斯伯特·吉德爾史東將此形容為「少數在其中似乎真正釋放出熱情 [時刻] 的莫札特作品之一」，托維則是將其形容為一段「精美、凜冽的沉重感」。
The exchange resolves to a passage in which the piano plays a treble line of sixteenth notes, over which the winds add echoes of the main theme.	這段交換消退成鋼琴以十六分音符的高音譜線演奏，其上則有管樂加上主題的回聲。
This transitional passage ultimately modulates to the home key of C minor, bringing about the start of the recapitulation with the conventional re-statement, by the orchestra, of the movement's principal theme.	這個轉調的段落最終變調為 C 小調的主調，透過樂章的主要主題──管弦樂，以傳統的回歸段帶進再現部的開頭。
The wide range of thematic material presented in the orchestral and solo expositions poses a challenge for the recapitulation.	管弦和獨奏呈示部中呈現的廣泛主題素材，為再現部帶來了挑戰。
Mozart manages to recapitulate all of the themes in the home key of C minor.	莫札特得心應手地以 C 小調主調再現所有主題。
The themes are necessarily compressed, are presented in a different order, and in their restated form, contain few virtuosic moments for the soloist.	這些主題必須有所壓縮、以不同順序呈現，而且在其回歸再現形式中，含有獨奏者少有的巧奪天工瞬間。
The last theme to be recapitulated is the secondary theme of the orchestral exposition, which has not been heard for some 400 measures and is now adorned by a passage of triplets from the piano.	再現的最後一個主題是管弦樂呈示部的副主題；這個副主題已有約 400 小節未出現，現在則是透過鋼琴三連音的段落來裝飾。
The recapitulation concludes with the piano playing arpeggiated sixteenths before a cadential trill leads into a ritornello.	再現部的結尾是鋼琴演奏十六分音符琶音，之後則是以一個終止顫音進入結尾段。
The ritornello in turn leads into a fermata that prompts the soloist's cadenza.	結尾段接著進入延長音，以提示獨奏者的終止式。
"All of Creation" was nominated for two awards at the 42nd GMA Dove Awards: "Song of the Year" and "Pop/Contemporary Recorded Song of the Year".	《All of Creation》獲得第 42 屆 GMA 金鴿獎兩項提名：「年度最佳歌曲」和「年度最佳流行/當代歌曲」。
It was also nominated for "Christian Song of the Year" at the 2011 Billboard Music Awards.	它也在 2011 年告示牌音樂獎中獲得「年度基督教歌曲」提名。
"The Ones" was written by co-executive producer Jack Burditt, and directed by Beth McCarthy, a long-time television director who worked with series creator Tina Fey on the sketch comedy show Saturday Night Live.	《The Ones》由共同執行製作人傑克·布迪特編劇，並由曾與劇集創作者蒂娜·費在喜劇小品節目週六夜現場合作的資深導播貝絲·麥卡錫執導。
This was Burditt's tenth writing credit, and was McCarthy's sixth directed episode.	這是布迪特的第十部編劇創作，而且是麥卡錫第六部執導的影集。
"The Ones" originally aired on NBC in the United States on April 23, 2009.	《The Ones》最初在 2009 年 4 月 23 日於美國的 NBC 播出。
At the beginning of the episode, Jack and Liz are at a jewelry store, as Jack is searching for an engagement ring for Elisa.	影集的開頭時，傑克和莉茲在珠寶店，因為傑克正在尋找給愛莉莎的訂婚戒指。
They shot that scene in a Cartier store in New York's Fifth Avenue, which was filmed on February 22, 2009. A scene featuring Sue LaRoche-Van der Hout (Sue Galloway) as the Grim Reaper, in which Jenna is led to believe Kenneth has gone into shock because of the strawberries, was cut from the airing.	他們在紐約第五大道的卡地亞商店拍攝該場景，在 2009 年 2 月 22 日拍攝。一場由蘇·拉羅切·范德豪特 (蘇·加洛維) 扮演死神，且其中珍娜被引導認為肯尼斯是因為草莓而進入休克狀態的場景，並沒有播出。
According to Jane Krakowski, in the DVD commentary for this episode, there were alternate scenes with Jenna letting Kenneth know about the tampering she did to Kenneth's items, his chickpea, water bottle, and harmonica.	根據珍·考克斯基在此影集的 DVD 講評中所述，替代的場景是珍娜讓肯尼斯知道她對肯尼斯的物品搞鬼，也就是他的鷹嘴豆、水瓶和口琴。
"The Ones" was actress Salma Hayek's final guest appearance on 30 Rock.	《The Ones》是女演員莎瑪·海耶克在超級製作人的最後一次客串演出。
Her first appearance on the show was in the episode "Señor Macho Solo", as a nurse for Jack's mother and love interest for him.	她在節目中的首次演出是在《Señor Macho Solo》一集，扮演傑克母親的護士而且對他有愛慕之情。
She next guest-starred in the episodes "Flu Shot", "Generalissimo", "St.	她之後客串演出了《流感疫苗》、《大元帥》、
Valentine's Day", and "Larry King".	《情人節》和《賴瑞·金》等集。
News anchor Brian Williams, of NBC Nightly News, guest-starred as himself in this episode.	NBC 夜間新聞主播布萊恩·威廉斯在此影集中客串演出自己。
In a scene with Tracy and Jack at a club, Tracy reveals to Jack that he has been giving out his phone number to different women, though it is not his real number, which results in Williams receiving the calls.	在崔西和傑克位於俱樂部的一個場景中，崔西向傑克透露，他一直把電話號碼提供給不同的女人，但是那並非他真正的號碼，因此導致威廉斯接到電話。
Kenneth revealing that his real name is "Dick Whitman" is a reference to the main character Don Draper of Mad Men (played by Jon Hamm, who had a recurring role on 30 Rock earlier in the season).	肯尼斯透露他的真實姓名是「迪克·惠特曼」，是影射《廣告狂人》的主角唐·德雷柏 (由喬·漢姆扮演，他在超級製作人當季早期擔任常設角色)。 
"Earn this", spoken by Kenneth as Jenna has poisoned him again, references the 1998 film Saving Private Ryan when actor Tom Hanks says the same words to actor Matt Damon's title character.	肯尼斯在珍娜再度對他下毒時說的「好好活下去」，是影射 1998 年電影《搶救雷恩大兵》，當時演員湯姆·漢克斯對演員麥特·戴蒙扮演的主角說了同樣的話。
When she is told that Kenneth has gone into a severe allergic shock and needs to have his hands cut off, Jenna apologizes to him for what she has done, telling him "I'm just a girl sitting in front of a boy she poisoned so this other guy would go to town on her", which Jenna misquotes from actress Julia Roberts' character from the romantic comedy Notting Hill (1999).	她得知肯尼斯進入嚴重過敏休克且必須將雙手切除時，珍娜因為所做的事而向他道歉，並告訴他「我只是個女孩，坐在一位她下毒的男孩面前，好讓另外一個傢伙盡情享用她」，這是珍娜錯誤引用了浪漫喜劇《新娘百分百》(1999) 中女演員茱莉亞·羅勃茲的話。
After Kenneth drinks his strawberry water, as he risked his life so that Jenna can meet the paramedic again, Jenna says to Kenneth "You magnificent sonofabitch!", a line quoted by actor George C. Scott in the American biographical war film Patton (1970).	肯尼斯喝下他的草莓水後，因為他冒生命危險讓珍娜能夠再次見到急救人員，潔娜向肯尼斯說「你真是超棒的王八蛋！」，這是引用演員喬治 C·史考特在美國傳記電影《巴頓將軍》(1970) 中的台詞。
Kenneth blows white smoke out while referencing bringing back something from "the other side" (death) echoes the same look when actor Haley Joel Osment remarked "I see dead people" in the movie The Sixth Sense (1999).	肯尼斯提到從「另外一邊」(死亡) 取回某個物品時吐出白煙，是模仿演員海利·喬·奧斯蒙在電影《靈異第六感》(1999) 中說出「我看得見死人」時的相同模樣。
The final three clips in the montage of Tracy taking off his shirt are real clips from Tracy Morgan interviews.	崔西脫掉上衣的剪輯中最後的三個片段是來自崔西·摩根訪談的真實片段。
Also, Elisa wears a "What the Frak?!" Battlestar Galactica t-shirt, as she admits her secret to Jack and Liz. "It's not product placement—I just like it!", says Liz to Jack, after he storms into her office and she is wearing a Slanket, a sleeved blanket with sleeves usually made of fleece material.	此外，艾莉莎向傑克和莉茲坦承祕密時，穿著一件「What the Frak?!」《星際大爭霸》T 恤。傑克衝進莉茲的辦公室之後，她對他說「它不是替代產品，我只是很喜歡它！」，而且她穿著袖毯，是一種帶袖子的毛毯，且袖子通常以羊毛材質製成。
In its original American broadcast, "The Ones" was watched by 6.3 million households, according to the Nielsen ratings system.	根據尼爾森收視率系統，《The Ones》最初在美國的播出有 630 萬戶收看。
Caesium is a relatively rare element, estimated to average 3 parts per million in the Earth's crust.	銫是一種相對稀有的元素，預估在地殼中平均為百萬分之 3。
It is the 45th most abundant element and the 36th among the metals.	它是第 45 種最豐富的元素，在金屬中則是第 36 名。
Nevertheless, it is more abundant than such elements as antimony, cadmium, tin, and tungsten, and two orders of magnitude more abundant than mercury and silver; it is 3.3% as abundant as rubidium, with which it is closely associated, chemically.	然而，它比銻、鎘、錫和鎢等元素豐度更高，而且比汞和銀的豐度多了兩個量級；它的豐度和銣一樣是 3.3%，而且與它在化學上密切相關。
Due to its large ionic radius, caesium is one of the "incompatible elements".	銫的離子半徑很大，因此是「不相容元素」的其中一種。
During magma crystallization, caesium is concentrated in the liquid phase and crystallizes last.	在岩漿結晶期間，銫會濃縮成液相，並在最後結晶。
Therefore, the largest deposits of caesium are zone pegmatite ore bodies formed by this enrichment process.	因此，銫的最大礦床是這種富集過程中形成的晶帶偉晶岩礦體。
Because caesium does not substitute for potassium as readily as rubidium does, the alkali evaporite minerals sylvite (KCl) and carnallite (KMgCl	因為銫無法像銣一樣容易取代鉀，鹼蒸發岩礦鉀鹽 (KCl) 和光鹵石 (KMgCl
₃·6H	₃·6H
₂O) may contain only 0.002% caesium.	₂O) 可能只含有 0.002% 的銫。
Consequently, caesium is found in few minerals.	因此，很少礦物質中會發現銫。
Percentage amounts of caesium may be found in beryl (Be	有一部分的銫可能存在於綠柱石 (Be
₃Al	₃Al
₂(SiO	₂(SiO
₃)	₃)
₆) and avogadrite ((K,Cs)BF	₆) 和氟硼鉀石 ((K,Cs)BF
₄), up to 15 wt% Cs₂O in the closely related mineral pezzottaite (Cs(Be₂Li)Al₂Si₆O₁₈), up to 8.4 wt% Cs₂O in the rare mineral londonite ((Cs,K)Al	₄)，在密切相關的銫柱石 (Cs(Be₂Li)Al₂Si₆O₁₈) 中高達 15 wt% Cs₂O ，高達 8.4 wt% Cs₂O 在稀土礦物硼鈹鋁鉀石 ((Cs,K)Al
₄Be	₄Be
₄(B,Be)	₄(B,Be)
₁₂O	₁₂O
₂₈), and less in the more widespread rhodizite.	₂₈)，而在較為普遍的硼鈹鋁銫石中較少。
A major theme in this story is that of a symbiotic relationship between a planet and its inhabitants, similar to that in The Word for World Is Forest.	此故事的主要題材是星球和其居民之間的共生關係，與《世界的詞語是森林》中的共生關係類似。
In her introduction to the story, Le Guin stated "We all have forests in our minds.	在勒瑰恩的故事引言中，她表示「我們的心中都有森林。
Forests unexplored, unending.	未經探索，無止盡的森林。
Each of us gets lost in the forests, every night, alone." The "vegetable love" referred to in the poem from which the title is taken can be used to describe the final relationship between Osden and the planetary intelligence of World 4470.	我們每個人每晚都會獨自迷失在森林中。」在詩名取自其中的詩集中，所提到的「植物般的愛情」可以用來形容世界 4470 中奧斯登和星球智慧之間的最終關係。
When Osden is attacked by Porlock in the planet, he transmits his fear to the planet, which amplifies it and reflects it back at him.	奧斯登在星球上受到波拉克攻擊時，他將恐懼傳送給星球，而星球將它放大並反射回來給他。
Thus Osden's role is similar to that of Selver in The Word for World is Forest, in that he introduces violence to the forest world.	因此奧斯登的角色類似於《世界的詞語是森林》中的塞爾沃爾，他在其中將暴力引進森林世界。
The intelligence of Le Guin's forest has been contrasted to the "low" position occupied by vegetative beings in the works of other science fiction authors such as Arthur C. Clarke.	勒瑰恩的森林智慧與亞瑟·C·克拉克等其他科幻作者作品中由植物佔據的「低等」位置成為對比。
An additional similarity between The Word for World Is Forest and "Vaster than Empires" is the theme of first contact between humans and a new environment.	另一個在世界的詞語是森林和「比帝國遼闊」之間的相似處，是人類和新環境首次接觸的題材。
In "Vaster than Empires," the forest is both the setting for the story and a character in it.	在「比帝國遼闊」中，森林同時是故事的背景，也是其中的角色。
The forest directly responds to the humans with fear, a response that is similar to the response of Osden, the empath, to the rest of society: "the normal defensive-aggressive reaction between strangers meeting." Thus Le Guin makes an analogy between contact between humans and aliens, and contact between individual humans; both are contact between the self and the "other".	森林直接以恐懼回應人類，一種類似於共感人奧斯登對社會其他人的反應：「陌生人見面時的正常防禦性攻擊反應。」因此勒瑰恩將人類與外星人之間的接觸，和個別人類之間的接觸進行類比；兩者都是自我和「他者」之間的接觸。
Osden is depicted as having a strong empathetic connection with the vegetated planet visited by the explorers.	奧斯登被描述為與探索者所造訪的植物星球有強烈的移情作用連結。
This is in contrast to the sharply antagonistic relationship that the other members of the team have with him.	這和團隊其他成員與他的鮮明矛盾關係成了對比。
The team is depicted as a dysfunctional group, with each individual having quirks and oddities of their own.	團隊被描述為功能失調的群體，每個人都有自己的怪癖和古怪之處。
They are regarded as being of "unsound mind" by the people of Earth and Hain, because they were willing to travel on a voyage that lasted 500 years of actual time.	他們被地球和海恩的人視為「心理不健全」的人，因為他們願意踏上實際時間長達 500 年的航程。
The fear transmitted by the forest drives them further into their neuroticism.	森林傳送的恐懼讓他們的神經質更為嚴重。
In contrast, Osden the empath surrenders completely to the forest, and thus achieves a mental unity with the planet.	相比之下，共感人奧斯登徹底向森林屈服，因此與星球達到精神統一。
In choosing a sort of union with the planet, Osden shows that the singular consciousness of the vegetative creature is preferable to the chaos and discord in human society.	在選擇與星球統一的方法時，奧斯登展現出植物的單一意識比人類社會的混亂與不和諧更好。
At the conclusion of the story Tomiko describes Osden's relationship with the planet, saying "He had taken the fear into himself, and, accepting, had transcended it.	在故事的結尾，Tomiko 描述 Osdens 與地球的關係，他說：「他感到恐懼，繼而接受且超越恐懼。
He had given up his self to the alien, and unreserved surrender, that left no place for evil.	面對外星人，他放棄自我，徹底投降，使邪惡毫無立足之地。
He had learned the love of the Other and thereby had been given his whole self." Osden achieves a completely empathetic relationship with the planet, "both literally and figuratively in touch with the forest;" which also grants him temporary goodwill towards humans, as he says "Listen, I will you well" before leaving his colleagues.	他學會了愛他人，從而使自已更完美。Osden 與地球達成完全同理心的關係，「無論是字面上還是比喻上與森林的接觸；」這也使他展現對人類暫時的善意，因為他在離開同事之前說「聴著，我希望您幸福」。
Immediately after CR 557 joins US 40, the road enters Buena, Atlantic County and continues southeast into inhabited areas.	在 CR 557 與 US 40 交會之後，這條路立即進入大西洋郡布埃納 (Buena, Atlantic County)，並繼續向東南方向進入有人居住的地區。
After running through the commercial center of town, where it crosses the Southern Railroad of New Jersey's Southern Running Track line, the road comes to the southern terminus of Route 54 and the eastern end of CR 619 in a business area located on the outskirts.	穿過城鎮的商業中心後，旋即穿過新澤西州南方鐵路的南部道路線 (Southern Railroad of New Jersey's Southern Running Track)，到達 54 號公路的南部終點和 CR 619 的東端，這是位於郊區的商業區。
At this point, it enters Buena Vista Township, and CR 557 splits form US 40 by heading to the southeast on Buena-Tuckahoe Road.	在此處，進入布埃納維斯塔鎮 (Buena Vista Township)，在延伸至 Buena-Tuckahoe 路的東南方時，CR 557 與 US 40 分道。
From this point, US 40 becomes concurrent with CR 557 Truck and enters dense woodland containing homes and businesses as well as occasional farms.	在此處，US 40 變成與 CR 557 並行，進入密集的林地，此處有家庭和企業，偶爾有農場。
The road reaches the residential community of Richland, where it encounters the eastern terminus of CR 540 and CR 622 and crosses Conrail Shared Assets Operations' Beesleys Point Secondary railroad line.	這條路到達里奇蘭 (Richland) 的住宅社區，在此處與 CR 540 和 CR 622 的東部終點交匯，並穿過 Conrail Shared Assets Operations 的 Beesleys Point Secondary 鐵路線。
Upon leaving Richland, the route crosses into Hamilton Township, where it runs through Mizpah before heading back into forested areas and a few residential sectors.	離開里奇蘭 (Richland) 後，這條路穿過漢密爾頓鎮 (Hamilton Township)，在此處會先穿過米茲帕 (Mizpah)，然後回到森林區和少數住宅區。
US 40 intersects the eastern terminus of CR 552, briefly becoming a divided highway before turning east into denser inhabited areas.	US 40 與 CR 552 的東部終點相交，短暫地成為一條分線高速公路，然後轉向東進入更密集的居住區。
The highway intersects CR 559 Truck/CR 606, at which point it becomes concurrent with CR 559 Truck.	高速公路與 CR 559 Truck/CR 606 相交，在此處變成與 CR 559 Truck 並行。
The route meets Route 50, where CR 557 Truck splits to the south.	這條路與 50 號公路交會，在此處 CR 557 Truck 向南分道。
Route 50 joins US 40 before the road crosses the Great Egg Harbor River.	50 號公路與 US 40 交匯，然後穿過巨蛋港河 (Great Egg Harbor River)。
Upon crossing the river, the road enters Mays Landing and turns north into the downtown area.	這條路在穿過河後進入梅斯蘭丁 (Mays Landing)，向北轉進入市區。
CR 559 Truck splits southbound to follow CR 617 to the east.	CR 559 Truck 向南分道而沿循 CR 617 向東延伸。
A short distance later, the road meets CR 559 and US 40 splits from Route 50 by turning east onto that route.	在延伸很短的距離後，這條路與 CR 559 交會，而 US 40 向東轉入該條路而與 50 號公路分道。
This intersection marks the beginning of CR 559 Truck northbound.	此交叉路口標記 CR 559 Truck 北行的起點。
The road passes more development before CR 559 splits from the road by heading southeast.	這條路會先通過更多開發區，然後 CR 559 向東南方延伸而與這條路分道。
US 40 heads east out of Mays Landing, where it continues through woodland and increasing residential development.	US 40 向東延伸而離開梅斯蘭丁 (Mays Landing)，在此處繼續穿過林地和愈來愈多的住宅開發區。
The road widens into four lanes as it comes to US 322 (Black Horse Pike) near the Hamilton Mall.	這條路隨著在漢密爾頓購物中心 (Hamilton Mall) 附近到達 US 322 (Black Horse Pike) 而拓寬成四條車道。
At this point, US 40 forms a concurrency with US 322, which lasts for the remainder of the route.	在此處，US 40 與 US 322 形成並行道路，這條路的其餘部分持續並行。
The two routes continue to the southeast through business areas, meeting CR 575 and a ramp to the Atlantic City Expressway.	這兩條路繼續向東南穿過商業區，與 CR 575 和通往大西洋高速公路 (Atlantic City Expressway) 的匝道交匯。
CR 575 turns east to follow US 40/US 322.	CR 575 向東轉而沿循 US 40/US 322 延伸。
Sixteen years before Oceanic 815 crashes on the island, Rousseau was a heavily pregnant member of a six-person crew aboard a French research vessel three days out of Tahiti.	在大洋航空 815 航班 (Oceanic 815) 墜毀在島上的十六年前，盧梭是一艘法國研究船離開大溪地的三天航程中，六名船員中的一名臨產期成員。
The crew picked up a radio signal emanating from the South Pacific, which was a repeating set of six numbers: 4, 8, 15, 16, 23 and 42.	船員接收到從南太平洋發出的無線電信號，信號中重複一組六個數字：4、8、15、16、23 和 42。
While attempting to find the source of the signal, the ship ran aground on rocks surrounding the island.	這艘船在試圖找到信號來源時，擱淺在島嶼周圍的岩石上。
Before reaching the shore, Rousseau and her team found Oceanic 815 survivor Jin-Soo Kwon (Daniel Dae Kim) in the water, who had been time-travelling as a result of the time shifts which had been moving him and the flight survivors through the island's history.	在到達岸邊之前，盧梭及其隊員在水中找到歷經時光旅行的 Oceanic 815 倖存者權真秀 (金大賢飾)，他與航班倖存者因時光平移而一直穿越該島的歷史。
Rousseau later tells the survivors of Oceanic 815 that two months after their arrival, that the island natives, which she called the Others, carried a disease that the rest of her crew had contracted.	盧梭後來告訴 Oceanic 815 倖存者，在他們到達島上兩個月後，島上的原住民 (她稱為其他人) 是一種疾病的帶原者，而她的其他船員都感染了這種疾病。
She believed that this disease could not be allowed to reach the rest of the world, so she killed her colleagues, including her husband Robert.	她認為這種疾病不能傳播到世界其他地方，所以她殺死了她的同事，包括她的丈夫 Robert。
When Jin time-travels to the past, he witnesses a different version of Rousseau's past.	當真秀時光旅行到過去時，他見證了盧梭過往的不同版本。
It is shown that the Smoke Monster, not the Others, was responsible for the "sickness" that forced her to kill her crew.	這表明，迫使她殺死其他船員的禍首就是煙怪，而不是其他人。
Rousseau confronts the father of her child, Robert, at gunpoint and accuses him of "being changed" inside the temple.	盧梭與她孩子父親羅伯特在槍口下對峙，並指責他在神廟內「被改變」。
Robert denies this, explaining that the Monster is a security system for the temple, and convinces Rousseau to lower her weapon.	羅伯特否定此說詞，而且解釋煙怪是神廟的保安系統，並說服盧梭放下武器。
He attempts to shoot her when she does, but is shot by Rousseau.	當她照做時，他試圖開槍打死她，但被盧梭槍殺了。
Rousseau also attempts to kill Jin, having witnessed him vanish moments after her team entered the Smoke Monster's lair, believing he has the disease.	盧梭還試圖殺死真秀，因為在她的團隊進入煙怪的巢穴後，她目睹真秀消失刹那，相信他已患有這種疾病。
Rousseau hiked to the radio tower and changed the message from the numbers to a repeating distress call. Three days later, Rousseau gave birth to a daughter, Alexandra.	盧梭徙步足到無線電塔，將訊息從數字改變成重複的求救電話。三天後，盧梭生下一名女兒艾莉克斯。
One week after Alex's birth, Benjamin Linus (Michael Emerson) came and took Alex from Rousseau.	艾莉克斯出生一週後，班傑明·萊納斯 (Michael Emerson 飾) 抵達且將艾莉克斯從盧梭帶走。
Ben told Rousseau that the child would be safe with them, and that she was lucky for being left alive.	班告訴盧梭，孩子和他們在一起會很安全，能幸運活著。
Before leaving, Ben tells her that if she hears whispers, she should run the other way.	在離開之前，班告訴她，如果她聴竊竊私語，應該往另一方向跑。
After this, Rousseau began setting traps in the jungle with the hope of catching one of the people responsible for Alex's kidnapping.	之後，盧梭開始在叢林中設置陷阱，希望抓住一名參與綁架艾莉克斯的人。
Rousseau makes her first appearance in the season one episode "Solitary", where she captures Sayid (Naveen Andrews), one of the plane crash survivors.	盧梭在第一季的《孤獨》(Solitary) 中首次亮相，在該集中，她抓住了飛機失事倖存者之一薩伊德 (Naveen Andrews 飾)。
Rousseau tortures him until he eventually convinces her that he is not one of the Others.	盧梭折磨他，直到他說服她，他不是其他人中的一員。
She allows Sayid to return to his camp, and cautions him to keep a close eye on the other survivors.	她允許薩伊德回到營地，並警告他密切注意其他倖存者。
Among harem-holding species, the adult females mate only with their harem stallion, while in other species, mating is more promiscuous and the males have larger testes for sperm competition.	在擁有配偶群的物種中，成年雌性僅與配偶群中的種公馬交配，而在其他物種中，交配更為混雜，為了爭取交配機會，雄性具有較大的睾丸。
Estrus in female equines lasts 5–10 days; physical signs include frequent urination, flowing muscus, and swollen, everted labia.	雌馬發情會持續 5–10 天；體徵包括頻尿、流動黏液及陰唇腫脹外翻。
In addition, estrous females will stand with their hind legs spread and raise their tails when in the presence of a male.	此外，發情的雌性在雄性面前時，會張開後腳站立並抬起尾巴。
Males assess the female's reproductive state with the flehmen response and the female will solicit mating by backing in.	雄性會依據雌性反應來評估雌性的生殖狀態，雌性會後退來尋求交配。
Length of gestation varies by species; it is roughly 11 to 13 months, and most mares come into estrus again within a few days after foaling, depending on conditions.	妊娠時間因物種而異，約 11 至 13 個月，大多數母馬在產駒後幾天內就可再次進入發情期，視狀況而定。
Usually, only a single foal is born, which is capable of running within an hour.	通常，只有一匹馬駒出生，且剛出生的馬駒在一小時內就能夠奔跑。
Within a few weeks, foals attempt to graze, but may continue to nurse for 8–13 months.	幼駒在幾週內就會嘗試吃草，但可能繼續餵養 8–13 個月。
Species in arid habitats, like Grévy's zebra, have longer nursing intervals and do not drink water until they are three months old.	如細紋斑馬等乾旱棲息地的物種，幼駒需要更長的哺乳期，直到三個月才喝水。
Among harem-holding species, foals are cared for mostly by their mothers, but if threatened by predators, the entire group works together to protect all the young.	在擁有雌性配偶群的物種中，幼駒主要由親生母親照顧，但如果受到捕食者威脅，整個馬群會共同努力保護所有幼駒。
The group forms a protective front with the foals in the center and the stallion will rush at predators that come too close.	馬群會形成保護陣線，將幼駒圍在中心，種公馬會衝向距離太近的捕食者。
In territory-holding species, mothers may gather into small groups and leave their young in "kindergartens" under the guard of a territorial male while searching for water.	在擁有領地的物種，母親會聚集成小群體，而幼駒留在「幼稚園」且受到領地雄性的警戒保護，同時尋找水源。
Grévy's zebra stallions may look after a foal in his territory to ensure that the mother stays, though it may not be his.	細紋斑馬種公馬會為了確保幼駒母親留下來而照顧領地內的一匹幼駒，即使不是親生的。
The earliest archaeological evidence for the domestication of the horse comes from sites in Ukraine and Kazakhstan, dating to around 4000-3500 BC.	烏克蘭和哈薩克的遺址存在最早的馬馴化考古證據，可追溯到西元前 4000-3500 年左右。
By 3000 BC, the horse was completely domesticated, and by 2000 BC, a sharp increase occurred in the number of horse bones found in human settlements in northwestern Europe, indicating the spread of domesticated horses throughout the continent.	到西元前 3000 年，馬被完全馴化，到西元前 2000 年，在歐洲西北部的人類定居點中發現的馬骨數量急遽增加，表明馴養的馬遍佈大陸。
The most recent, but most irrefutable, evidence of domestication comes from sites where horse remains were buried with chariots in graves of the Sintashta and Petrovka cultures c. 2100 BC.	最近但最無可辯駁的馬馴化證據來自在西元前 2100 年的辛塔什塔 (Sintashta) 和彼得羅夫卡 (Petrovka) 文化的墳墓中發現到馬匹遺骸與戰車埋葬在一起。
Studies of variation in genetic material shows that very few wild stallions, possibly all from a single haplotype, contributed to the domestic horse, while many mares were part of early domesticated herds.	遺傳物質變異方面的研究表明，很少有野生種馬 (可能全部來自單倍型) 對家馬有貢獻，而許多母馬是早期馴化馬群的一部分。
Przewalski's horse has been conclusively shown not to be an ancestor of the domestic horse, though the two can hybridize and produce fertile offspring.	經最終證明，普氏野馬 (Przewalski's horse) 不是家馬的祖先，儘管可以雜交並繁殖生下有生殖力的後代。
The split between Przewalskii's horse and E. ferus caballus is estimated to have occurred 120,000– 240,000 years ago, long before domestication.	經估計，普氐野馬與歐洲野馬 (E. ferus caballus) 之間的分裂發生在 120,000– 240,000 年前，遠在馴化之前。
Of the caballine equines of E. ferus, E. f. ferus, also known as the European wild horse or "tarpan", shares ancestry with the modern domestic horse.	在歐洲野馬亞種之中，泰班野馬 (E. f. ferus；tarpan) 與現代家馬有共同祖先。
In addition, tarpans that lived into modern times may have been hybridized with domestic horses.	此外，現代的泰班野馬可能已經與家馬雜交。
In the early 20th century, "Nkosi Sikielel' iAfrika" was becoming popular with black Africans.	在20世紀初，《Nkosi Sikielel' iAfrika》越來越受非洲黑人歡迎。
In Southern Rhodesia it was originally sung in the original Xhosa language before being translated into Shona which created "Ishe Komborera Africa".	在南羅德西亞 (Southern Rhodesia)，這首歌最初是用原始的科薩語演唱，然後被翻譯成紹納語，創作了《Ishe Komborera Africa》。
The new Shona language hymn was first performed at the start of a meeting of the Southern Rhodesia Native Association and then again four days later at the closure of the first meeting of the Bantu National Congress, which the Southern Rhodesia Native Association later became affiliated to.	新的紹納語讚美詩首先在南羅德西亞原住民協會 (Southern Rhodesia Native Association) 的一次會議開始時表演唱，然後在四天後班圖人全國大會 (Bantu National Congress) 第一次會議結束時再次演唱，南羅德西亞原住民協會 (Southern Rhodesia Native Association) 後來成為該協會的附屬機構。
By the 1948 African General Strike, it had become the main political song amongst black Africans.	在 1948 年非洲總罷工時，這首歌已成為非洲黑人的主要政治歌曲。
Despite that connotation, the song was accepted by black and white Rhodesians.	儘管有這種內涵意義，這首歌還是被羅得西亞黑人和白人所接受。
In 1951, at a British South African Police athletics competition, "Ishe Komborera Africa" was sung by combined black and white policemen to commemorate the first multi-racial competition in Southern Rhodesia.	1951 年，在一次英國南非員警田徑比賽中，黑人和白人員警共同演唱了《Ishe Komborera Africa》，以紀念南羅得西亞的第一次多族裔比賽。
Following Rhodesia's Unilateral Declaration of Independence from the British Empire, the new Rhodesian authorities started to crack down on African liberation movements.	在羅得西亞 (Rhodesia) 單方面宣佈脫離大英帝國獨立後，羅得西亞的新當局開始鎮壓非洲解放運動。
One of their considerations was to ban performance of "Ishe Komborera Africa" in African schools and public performance of it often made people liable for arrest by the British South African Police.	新當局的其中項考慮是禁止在非洲學校表演《Ishe Komborera Africa》，而從事公開表演的人往往使會人們被英國南非警方逮捕。
The District Commissioner for Gutu abolished the Gutu African Council after its leader opened a meeting by singing "Ishe Komborera Africa" in the District Commissioner's presence.	古圖地區專員 (District Commissioner for Gutu) 因古圖非洲理事會 (Gutu African Council) 的領導人在會議開始時在地區專員面前唱《Ishe Komborera Africa》，而使古圖非洲理事會遭廢除。
The Commissioner also had the leader arrested but he was released without charge.	專員還逮捕了該領導人，但他因未受到指控而被釋放。
Following the Southern Rhodesian general election, 1980, after Zimbabwe Rhodesia returned to British control as Southern Rhodesia, Robert Mugabe's Zimbabwe African National Union party won to become the first government of an independent Zimbabwe.	1980年南羅得西亞大選後，辛巴威羅德西亞 (Zimbabwe Rhodesia) 作為南羅得西亞回歸英國控制後，Robert Mugabe 的辛巴威非洲民族聯盟黨 (Zimbabwe African National Union) 獲勝，成為辛巴威獨立後的第一個政府。
After this, "Ishe Komborera Africa" was selected to replace the official "God Save the Queen" of Southern Rhodesia and the unofficial "Rise, O Voices of Rhodesia" of Rhodesia as the national anthem of an independent Zimbabwe as it was a symbol of black African struggles and solidarity against apartheid systems in South Africa and Namibia.	在此之後，「Ishe Komborera Africa」成為非洲黑人鬥爭和團結反對南非和納米比亞種族隔離制度的象徵，而被選為獨立的辛巴威的國歌，取代南羅得西亞的官方《God Save the Queen》和羅得西亞的非官方《Rise, O Voices of Rhodesia》。
At the Zimbabwean independence ceremony, the Union Jack was lowered to "God Save the Queen" and the new flag of Zimbabwe was raised to "Ishe Komborera Africa" in Salisbury.	在辛巴威獨立儀式上，英國國旗 (Union Jack) 被降為「天佑女王」(God Save the Queen)，辛巴威的新國旗在索爾茲伯里市 (Salisbury) 被提升為《Ishe Komborera Africa》。
In 1994, it was deemed that Zimbabwe should change its national anthem to avoid similarities with other countries who used the tune of "Ishe Kombererra Africa".	1994年，人們認為辛巴威應該改變國歌，以避免與使用《Ishe Kombererra Africa》曲調的其他國家相似。
Tanzania used "Mungu ibariki Afrika", Zambia used "Stand and Sing of Zambia, Proud and Free" (to the same tune) and Transkei who used "Nkosi Sikielel' 'Afrika".	坦尚尼亞 (Tanzania) 使用「Mungu ibariki Afrika」，尚比亞 (Zambia) 使用《Stand and Sing of Zambia, Proud and Free》(以相同的曲調)，特蘭斯凱 (Transkei) 使用《Nkosi Sikielel' 'Afrika》。
It was also because Mugabe wanted to develop a new distinctly Zimbabwean identity with a unique national anthem.	這也是因為 Mugabe 想用獨特的國歌來發展一種新的獨特的辛巴威身份。
A contest was held to determine a new national anthem and "Simudzai Mureza wedu weZimbabwe" by Solomon Mutswairo was chosen.	為了確定新的國歌，舉行了一場競賽，Solomon Mutswairo 的《Simudzai Mureza wedu weZimbabwe》被選中。
The new anthem was promoted prior to "Ishe Komborera Africa" being replaced as the official national anthem.	新國歌是在《Ishe Komborera Africa》被取代為官方國歌之前就已廣為流傳。
However, there was scepticism from Christians about the need for replacing "Ishe Komborera Africa" with the belief that it was part of a plan by ZANU-PF to remove references to God from Zimbabwe's official proceedings.	然而，基督徒對是否需要取代《Ishe Komborera Africa》持懷疑態度，認為這是 ZANU-PF 從辛巴威的官方程序中刪除提及上帝所規劃的一環。
The change of anthem from "Ishe Komberera Africa" was later confirmed by the Parliament of Zimbabwe in 1995 by the passage of the National Anthem of Zimbabwe Act 10:15.	後來在1995年由辛巴威議會通過辛巴威國歌法10:15確認從「Ishe Komborera Africa」更換國歌。
Sprigg was a member and sometime president of the Tri-State Agricultural Association of Allegany County, which held a fair at its grounds near Cumberland in October 1894 and 1895.	Sprigg 是阿利根尼縣 (Allegany County) 三州農業協會 (Tri-State Agricultural Association) 的成員，有時是該協會的主席，該協會於 1894 年和 1895 年 10 月在昆布蘭郡 (Cumberland) 附近的場地舉行了一次博覽會。
Sprigg was an active Freemason, and served as junior warden and later master of the Potomac Lodge, Number 100 of the Free and Accepted Masons, in Cumberland.	Sprigg 是一位活躍的共濟會 (Freemason) 會員，曾擔任昆布蘭郡 (Cumberland) Potomac Lodge, Number 100 of the Free and Accepted Masons 的初級督導員和後來的尊主。
He was also a charter member of Cumberland's McKinley Chapter 12 of the Order of the Eastern Star.	他還是東方之星騎士團 (Order of the Eastern Star) 昆布蘭郡 (Cumberland) 馬里蘭州 12 分會 (McKinley Chapter 12) 的創始成員。
In 1905, Sprigg was elected as grand Adah of the order's Grand Maryland Chapter during the chapter's state convention in Cumberland; and that same year, he served as grand chaplain general of the McKinley Chapter.	1905 年，Sprigg 在昆布蘭郡分會的州大會上當選為該分會馬里蘭州分會的大阿達；同年，他擔任麥金利分會的大牧師。
Sprigg was a member of the Episcopal Church and attended Emmanuel Episcopal Church in Cumberland, where he served as vice president and president of the Emmanuel Episcopal Church Club.	Sprigg 是美國聖公會 (Episcopal Church) 的成員，並參加了昆布蘭郡 (Cumberland) 的伊曼紐爾聖公會 (Emmanuel Episcopal Church)，並擔任伊曼紐爾聖公會俱樂部 (Emmanuel Episcopal Church Club) 的副主席和主席。
As a former Confederate sympathizer during the American Civil War, Sprigg was active in Confederate memorial activities.	Sprigg 身為美國南北戰爭期間的前邦聯同情者的一份子，積極參與邦聯紀念活動。
In 1902, he delivered a speech on behalf of Confederate veterans at Memorial Day exercises in Cumberland.	1902 年，他在昆布蘭郡 (Cumberland) 的陣亡將士紀念日演習中代表邦聯退伍軍人發表演講。
Following a prolonged illness, Sprigg died at his residence on Washington Street in Cumberland on November 3, 1911.	在長期患病後，Sprigg 於 1911 年 11 月 3 日在昆布蘭郡 (Cumberland) 華盛頓街的住所去世。
He was survived by his wife Mary Ellen and their four daughters.	他的妻子 Mary Ellen 和他們的四個女兒倖存下來。
Sprigg's funeral service was held on November 6 at Emmanuel Episcopal Church in Cumberland.	Sprigg 的葬禮於 11 月 6 日在昆布蘭郡 (Cumberland) 的伊曼紐爾聖公會教堂 (Emmanuel Episcopal Church) 舉行，
He was interred at Rose Hill Cemetery.	他被埋葬在 Rose Hill Cemetery。
The band's array of influences mostly include alternative indie rock bands Superchunk, Jawbox, Sunny Day Real Estate, the Flaming Lips, Fugazi, and Pavement.	樂隊的影響範圍主要包括另類獨立搖滾樂隊 Superchunk、Jawbox、Sunny Day Real Estate、the Flaming Lips、Fugazi 和 Pavement。
Additional artists that inspired the band includes Braid and The Rentals, Elvis Costello, Pixies, Tom Waits, Ben Folds, the Weakerthans, Poster Children, the Carpenters, and the Cardigans.	啟發樂隊的其他藝術家包括 Braid and The Rentals、Elvis Costello、Pixies、Tom Waits、Ben Folds、the Weakerthans、Poster Children、the Carpenters 和 the Cardigans。
AllMusic additionally credits bands such as Weezer and the Get Up Kids as influences, among others.	AllMusic 還認為 Weezer  和 Get Up Kids 等樂隊受到影響。
Pierre quoted Waits that "all anybody ever does is imitate their favorite artist—badly," adding, "we're just regurgitating all the crap we listened to in the late '80s and early '90s, the music that got us into playing music in the first place."	Pierre 引用 Waits 的話說，「任何人所做的一切都是模仿他們最喜歡的藝術家 - 很糟糕，」並補充說，「我們只是在反芻我們在80年代末和90年代初聽到的所有廢話，這些音樂讓我們首先開始演奏音樂。」
The band's musical style is widely recognizable by its unique blend of pop punk with the Moog synthesizer.	樂隊的音樂風格因其獨特的流行朋克與 Moog 合成器音源機的融合而廣為人知。
The usage of the Moog stems from Cain, who first heard the instrument employed on the Rentals' album Return of the Rentals (1995).	Moog 的用法源自 Cain，他在 Rentals 的專輯 Return of the Rentals (1995) 中首次聽到使用該樂器。
He subsequently bought a cheap Moog at a pawn shop and wanted it to be an integral part of Motion City upon their formation.	隨後，他在一家當鋪買了便宜的 Moog，並希望它成為 Motion City 成立後的必要部分。
Johnson became known for his signature "Moogstand" in live performances, which consisted of a handstand on the instrument.	Johnson 以其現場表演中的簽名「Moogstand」而聞名，其中包括樂器的倒立架。
The group has been widely attributed to a number of different genres, including pop rock, power pop, indie rock, emo, and pop punk.	該樂隊被廣泛歸因於多種流派，包括流行搖滾、強力流行、獨立搖滾、Emo 和流行朋克。
Joshua Cain dismissed this latter label, remarking, "I definitely wouldn't consider us a pop-punk band.	Joshua Cain 駁回了後一個唱片公司的評論，他說：「我絕對不會認為我們是一支流行朋克樂隊。
Our influences are more based on '90s bands like Superchunk and early Weezer." Pierre characterized the band's music as "dirty, fast, happy, emotional rock songs."	我們的影響力更多地來自於90年代的 Superchunk 和早期樂隊 Weezer。」 Pierre 將樂隊的音樂描述為「骯髒，快速，快樂，充滿情感的搖滾歌曲。」
Nylon compared the music of their debut album, I Am the Movie, to All and the Get Up Kids.	Nylon 比較他們的首張專輯《I Am the Movie》與《All and the Get Up Kids》。
It has been described as having a "distinctly unified and identifiable style." Subsequent releases varied in style.	它被描述為具有「明顯統一和可識別的風格」。後續發行的音樂風格各異。
My Dinosaur Life, for example, saw the band attempting to emulate their favorite post-hardcore acts, such as Archers of Loaf and Dinosaur Jr.	例如，My Dinosaur Life 看到如 Archers of Loaf 和 Dinosaur Jr 等樂隊試圖模仿他們喜歡的後硬蕊表演。
"I Am Your Leader" is a hardcore hip-hop and electro-hop song that runs for three minutes and thirty-three seconds.	《I Am Your Leader》是一首硬蕊嘻哈和電子歌曲，曲長三分三十三秒。
The production consists of a "chilled-out, humming beat punctuated on the chorus with a blunted fake-horn hook—halfway between classic-era Neptunes and Look At Me Now" according to Andrew Unterberger of Popdust.	根據 Popdust 的 Andrew Unterberger 的說法，這首作品包括一個「冷靜的，嗡嗡作響的節拍，在合唱中穿插著混音的假喇叭鉤子 - 介於經典時代的 Neptunes與 Look At Me Now 之間」，
It also contains repetitive, high-pitched, off-pitch synth hooks, and a booming, static bass.	還包含重複、高音調、走音的合成器鉤子，以及一個閃亮節奏的靜態低音。
"I Am Your Leader" makes use of sparse beats, frills, minimal instrumentation, and allows Minaj's rhymes to be the focal point, all of which gives the song "something of a mixtape feel" according to Joe Rivers of No Ripcord.	根據《No Ripcord》雜誌的Joe Rivers的說法，《I Am Your Leader》利用稀疏的節拍、修飾音、最小的器樂譜寫，並允許 Minaj 的韻律成為焦點，所有這些都給了這首歌「某種混音帶的感覺」。
In his review of the song, Unterberger of Popdust noted Hit-Boy's modern hip hop production, saying "Diplo and Bangladesh might have to watch their back after the up-and-comers contributions to this album." Adam Fleischer of XXL said "Nicki dishes boast-heavy verses about how she’s better than all these other bitches."	Popdust 的 Unterberger 在對這首歌的評論中指出了 Hit-Boy 的現代嘻哈製作，他說：「Diplo 和孟加拉國可能不得不在這張專輯的後起之秀之後難望項背。」《XXL》的 Adam Fleischer 說：「Nicki 閒聊吹噓她如何比所有其他美眉更好」。
"I Am Your Leader" received positive reviews from critics.	《I Am Your Leader》獲得了評論家的推崇評價。
Andrew Unterberger of Popdust gave it a 4-star rating, complimenting Minaj's rapping as well as the guest verses of Cam'ron and Rick Ross.	Popdust 的 Andrew Unterberger 對這首歌給 4 星評級，稱讚了 Minaj 的說唱以及 Cam'ron 和 Rick Ross 的客座詩句。
However, Unterberger felt that Minaj was overshadowed by the guest verses.	然而，Unterberger 認為 Minaj 被客座詩句所掩蓋。
Andrew Hampp of Billboard echoed Unterberger's sentiments, saying "The nostalgia of Cam's return trumps the overall catchiness of the song." XXL Magazine stated that "Though many of the early songs [on the album] lack real substance, the records remain generally exciting - “I Am Your Leader,” alongside Rick Ross and Cam’ron, “Beez In The Trap” with 2 Chainz, and the triumphant “Champion” featuring Nas, Drake and Young Jeezy are all memorable moments".	Billboard 的 Andrew Hampp 回應 Unterberger 的觀點，他說：「對 Cam 回歸的懷舊情緒勝過了這首歌的整體朗朗上口。《XXL》雜誌指出，「雖然[專輯中的]許多早期歌曲缺乏真正的內容，但唱片仍然普遍令人興奮 - 與 Rick Ross 和 Cam'ron 一起的《I Am Your Leader》，與 2 Chainz 合作的《Beez In The Trap》，以及 Nas、Drake 和 Young Jeezy 的勝利《Champion》都是令人難忘的時刻」。
Joe Rivers No Ripcord praised "I Am Your Leader" along with "Beez in the Trap" for being "thrilling" and making "good use of cameos".	《No Ripcord》雜誌的 Joe Rivers 稱讚《I Am Your Leader》和《Beez in the Trap》「令人興奮」並「很好地利用了客串」。
Stephen Deusner of Paste Magazine said that "On the nursery rhyming “I Am Your Leader,” [Minaj] spits yet another dick joke like a playground jeer, slyly undermining hip-hop's traditionally male-centric braggadocio.	《Paste Magazine》雜誌的 Stephen Deusner 說：「在童謠《I Am Your Leader》，[Minaj] 輕蔑地說另一個生殖器笑話，就像遊樂場的嘲笑者一樣，狡猾地破壞了嘻哈傳統上以男性為中心的吹噓。
She's not only participating in phallocentric boasting; she's also inflating the convention with a Swedish penis pump until it's just shy of bursting".	她不僅參與以為中心的吹噓；她還用瑞典真空助勃器來充氣，直到它爆裂」。
David Jeffries of Allmusic listed it as one of the best tracks on the album.	Allmusic 的 David Jeffries將其列為專輯中最好的曲目之一。
Matthew Cole of Slant Magazine stated that "'I Am Your Leader' and 'Beez in the Trap' [are] two excellent tracks which manage to sound both bubbly and heavy as Minaj delivers her most effortlessly entertaining shit-talk to date".	《Slant Magazine》雜誌的Matthew Cole表示，《I Am Your Leader》和《Beez in the Trap》[是]兩首優秀的曲目，當Minaj提供她迄今為止最輕鬆的娛樂性廢話時說，它們聽起來既活潑又沉重」。
Ryan Dombal of Pitchfork called "Come On A Cone" and "I Am Your Leader" "two brilliantly off-kilter songs".	Pitchfork 的 Ryan Dombal 稱《Come On A Cone》和《I Am Your Leader》是「兩首精彩絕倫的歌曲」。
Tom Ewing of The Guardian said that "On "I Am Your Leader", [Minaj] drops a couple of octaves to gleefully pompous effect".	《衛報》(Guardian) 的 Tom Ewing 說：「在《I Am Your Leader》中，[Minaj]放了幾個八度音階，以達到令人愉悅的浮誇效果。」
Kevin Ritchie of NOW Magazine named it the top track of the album.	《NOW》雜誌的 Kevin Ritchie 將其稱為專輯的最受歡迎曲目。
Kyle Anderson of Entertainment Weekly named it one of the best tracks on the album along with "Champion".	《娛樂週刊》(Entertainment Weekly) 的 Kyle Anderson 將其與《Champion》一起評為專輯中最好的曲目之一。
The video begins with a pink mailbox with the song's title on the front written in different fonts.	影片的開頭是前面用不同字體寫著曲名的粉紅色郵箱。
The video is set in a playhouse esque brightly coloured house.	該影片設定在色彩鮮豔的劇院內。
The episode was written by Richard Appel, but the idea of Bart and Lisa attending a military academy had previously been pitched, and had been floating around since 1991.	這一集是由 Richard Appel寫劇本，但 Bart 和 Lisa 上軍事學院的想法以前就有人提出過，並且從 1991 年以來一直流傳。
The idea had not yet been used as an episode plot, because the writers had not felt comfortable with taking Bart and Lisa to a strange place early in the series.	這個想法還沒有被用作劇集情節，因為編劇們對在劇集早期把 Bart 和 Lisa 帶到一個陌生的地方感到不舒服。
During the scene where the Commandant is talking, there is a brief shot of Lisa blinking.	在指揮官說話的場景中，有一個 Lisa 眨眼的簡短鏡頭。
As there had been an error in the final print of the episode, the shot was animated, painted and shot on May 16, 1997, the Friday before the episode's airdate.	由於該集的最終成品有誤，因此拍攝畫面於 1997 年 5 月 16 日 (即該集播出日期前的星期五) 進行動畫製作、繪畫和拍攝。
The spiky blond-haired boy, who runs towards the Eliminator while screaming, is a caricature of director Mike B. Anderson.	這個尖尖的金髮男孩，在尖叫聲中跑向消除器，這是導演 Mike B. Anderson 的諷刺漫畫。
The episode originally aired on May 18, 1997, as the season finale, along with a rerun of "The Springfield Files." The episode was mistakenly anticipated by some as being about Lisa launching "a legal battle" to enroll at the military school.	該集最初於1997年5月18日播出，作為本季大結局，以及「The Springfield Files」的重播。這一集被一些人錯誤地認為是關於麗莎發起「一場法律戰」以進入軍校。
In its original broadcast, "The Secret War of Lisa Simpson" finished 47th in ratings for the week of May 12–18, 1997, with a Nielsen rating of 8.3, equivalent to approximately 8.1 million viewing households.	在首播中，《麗莎·辛普森的秘密戰爭》(The Secret War of Lisa Simpson) 在 1997 年 5 月 12 日至 18 日這一週的收視率中排名第 47 名，尼爾森收視率為 8.3，相當於約 810 萬家庭收視率。
It was the second highest-rated show on the Fox network that week, following The X-Files.	這是本週福克斯電視網收視率第二高的節目，僅次於《X檔案》。
Warren Martyn and Adrian Wood, the authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, disliked the episode, writing that it was "very dull" and that Dafoe was not used well.	Warren Martyn 和 Adrian Wood 是《我簡直不敢相信這是更大更新的辛普森家庭非官方指南》（I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide）一書的作者，他們不喜歡這一集，寫道它「非常沉悶」，Dafoe 角色未充分發揮。
However, Dafoe is one of show runner Josh Weinstein's favorite guest stars.	然而，Dafoe 是 Josh Weinstein 最喜歡的客串明星之一。
Ian Johnson argued Dafoe's casting was "rare" and "somewhat offbeat".	Ian Johnson 認為 Dafoe 的選角是「罕見的」，而且「有點另類」。
Journalist Raju Mudhar also wrote that in this episode, "The Simpsons have succinctly laid out our eventual future." This referred to the rise of robots (such as combat drones) in the real world and the quote from this episode:	記者 Raju Mudhar 也寫道，在這一集中，「辛普森一家簡明扼要地闡述了我們最終的未來」。這指的是機器人（如戰鬥無人機）在現實世界中的興起以及本集的引用：
"The wars of the future will not be fought on the battlefield or at sea.	「未來的戰爭不會在戰場上或海上進行。
They will be fought in space, or possibly on top of a very tall mountain.	他們將在太空中戰鬥，或者可能在一座非常高的山頂上進行戰鬥。
In either case, most of the actual fighting will be done by small robots.	無論哪種情況，大多數實際戰鬥都將由小型機器人完成。
And as you go forth today remember always your duty is clear: To build and maintain those robots."	當你今天走出去時，永遠記住你的職責是明確的：建造和維護這些機器人。」
The episode was one of four in 1999 released on a VHS (Re-released on DVD in 2005) called Bart Wars focused on crosses between The Simpsons and Star Wars.	這一集是 1999 年在VHS上發行的四集之一（2005 年在 DVD 上重新發行），名為《星球大戰》(Bart Wars)，專注於辛普森一家和星球大戰之間的交錯。
However, one critic wrote that with this episode and "Marge Be Not Proud" and "Dog of Death," both of which are also on the DVD, the "Star Wars connection" is "tangential at best."	然而，一位評論家寫道，這一集和《瑪姬不驕傲》(Marge Be Not Proud)和《死亡之犬》(Dog of Death) 也在 DVD 上，「星球大戰的聯繫」充其量是「無關緊要的」。
By end of the 16th century Cassel had become a border town between France and the Spanish Netherlands.	到 16 世紀末，Cassel 已成為法國和西班牙荷蘭之間的邊境城鎮。
The French repeatedly fought with Spain and later the independent Dutch Republic for control of the town; in March 1645, Gaston, Duke of Orléans seized it but lost it again to the Spanish a few months later.	法國人多次與西班牙和後來獨立的荷蘭共和國爭奪該鎮的控制權。1645 年 3 月，奧爾良公爵加斯東 (Gaston, Duke of Orléans) 奪取了它，但幾個月後再次將其輸給了西班牙人。
In 1658 Turenne expelled two Irish regiments in the pay of the Spanish who were garrisoning Cassel.	1658 年，Turenne 驅逐了兩個愛爾蘭軍團，以支付駐守 Cassel 的西班牙人的薪水。
The French captured the town in July 1676 under Louis de Crevant, Duke of Humières and strengthened the castle.	1676 年 7 月，法國人在休米埃爾公爵路易·德·克雷萬特 (Louis de Crevant, Duke of Humières) 的領導下佔領了該鎮，並加固了城堡。
The following year, a third Battle of Cassel took place just west of the town on 11 April 1677 when a French army under François-Henri de Montmorency, duc de Luxembourg and Philippe I of Orléans defeated Dutch forces commanded by William III of Orange.	次年，第三次 Cassel 戰役於 1677 年 4 月 11 日在該鎮以西發生，當時弗朗索瓦·亨利·德·蒙莫朗西，盧森堡公爵 (François-Henri de Montmorency, duc de Luxembourg) 和奧爾良公爵菲利普一世 (Philippe I of Orléans) 領導的法國軍隊擊敗了奧蘭治親王威廉三世 (William III of England) 指揮的荷蘭軍隊。
The battle took place after King Louis XIV of France besieged the Dutch-held town of Saint-Omer during the Franco–Dutch War.	這場戰役發生在法國國王路易十四在法荷戰爭期間圍攻荷蘭控制的聖奧梅爾鎮 (Saint-Omer) 之後。
William sent an army to relieve Saint-Omer but was defeated at the village of Zuytpeene just to the west of Cassel, losing 7-8,000 men killed or wounded and another 4,000 taken prisoner.	威廉派出一支軍隊去解救聖奧梅爾鎮 (Saint-Omer)，但在 Cassel 以西的 Zuytpeene 村被擊敗，損失了 7,000-8,000 人死亡或受傷，另有 4,000 人被俘。
Saint-Omer fell a week later.	一週後，聖奧梅爾鎮 (Saint-Omer) 被攻陷。
Cassel was annexed to France the following year under the terms of the Treaty of Nijmegen, which ended the war.	次年，Cassel 根據《奈梅亨條約》(Treaty of Nijmegen) 的條款被併入法國，結束了戰爭。
The annexation led to the town's defences being dismantled; it was considered indefensible, as it was within easy firing range of the nearby Mont des Récollets, and it would have cost far too much to fortify both hills.	吞併導致該鎮的防禦工事被拆除；這被認為是無法防衛的，因為該鎮在附近的 Mont des Récollets 的輕鬆射擊範圍內，而且加固兩座山丘的成本太高。
In addition, the revised frontier following the treaty was now a significant distance from Cassel and without the proximity of the border, the town was no longer seen as having much strategic significance.	此外，根據條約修訂的邊界現在距離 Cassel 很遠，沒有邊界的接近，該鎮不再被視為具有太大的戰略意義。
During the French Revolutionary Wars, Cassel is said to have been the hill up which the Grand Old Duke of York marched his 10,000 men before he "marched them down again".	在法國大革命戰爭期間，據說 Cassel 是大老約克公爵 (Grand Old Duke of York) 在「再次將他們趕下」之前他的10,000名士兵行進的山丘。
While it is true that Prince Frederick, Duke of York and Albany, did command an army in the Flanders Campaign of 1793 and was probably in the vicinity, the link with Cassel is considered dubious as the eponymous nursery rhyme appears to have originated well before the Revolutionary Wars.	雖然腓特烈王子 (Prince Frederick, Duke of York and Albany) 確實在 1793 年的佛蘭德斯戰役 (Flanders Campaign) 中指揮過一支軍隊，並且可能就在附近，但與 Cassel 的聯繫被認為是可疑的，因為同名的童謠似乎起源於獨立戰爭之前。
The population of Cassel grew to about 4,200 people by the mid-19th century.	到 19 世紀中葉，Cassel 的人口成長到約4 ,200 人。
Benjamin Disraeli, later to become Prime Minister of the United Kingdom, stayed there for a month in September–October 1845 and wrote in a letter to his sister Sarah that he considered it "an extremely savage place; few of the inhabitants, & none of the humbler classes, talk French, there is no library, bookseller's shop, nor newspaper of any sort ...	班傑明·迪斯雷利 (Benjamin Disraeli) 後來成為英國首相，於 1845 年 9 月至 10 月在那裡停留了一個月，並在給妹妹莎拉的一封信中寫道，他認為這是「一個極其野蠻的地方；少數居民，和沒有一個謙遜的階層、講法語、沒有圖書館、書店、也沒有任何形式的報紙......
It is quite French Flanders, their provisions come from Holland, the Hotel de Ville was built by the Spaniards, the carillons are perpetually sounding, & religion is supreme."	這是相當法國法蘭德斯地區 (French Flanders)，他們的食物來自荷蘭，市政廳是由西班牙人建造，鍾琴永遠悠揚，且宗教至高無上。
In 1848, Cassel gained a railway connection when the Lille-Dunkirk line was built.	1848 年，Cassel 在里爾-敦克爾克線 (Lille-Dunkirk) 建成時獲得了鐵路連接。
The station is, however, at the foot of the hill at Oxelaëre some 3 kilometres (1.9 mi) from the centre of Cassel.	然而，該車站位於 Oxelaëre 山腳下，距離 Cassel 市中心約3公里（1.9英里）。
To link the two places, an electric tramway was built under the auspices of the Compagnie des Tramways de Cassel, which operated between 1900 and 1934. It was replaced by a bus link which still operates today.	為了連接這兩個地方，在1900年至1934年間運營的 Compagnie des Tramways de Cassel 的贊助下建造了一條電動有軌電車，它被今天仍在運營的公車線路所取代。
Cassel served as the headquarters of Marshal Ferdinand Foch during the early part of the First World War, between October 1914 and May 1915.	Cassel 在第一次世界大戰初期（1914 年 10 月至 1915 年 5 月）擔任馬歇爾‧斐迪南‧佛區 (Marshal Ferdinand Foch) 指揮官。
Kruščica belonged to a group of concentration camps in the Independent State of Croatia where mass executions of inmates were performed.	Kruščica 屬於克羅埃西亞獨立國 (Independent State of Croatia) 的一群集中營，在那裡大規模處決囚犯。
During first two months of the functioning of the camp, local residents killed three thousand people within it.	在集中營運作的前兩個月，當地居民殺死了其中的三千人。
At the end of July 1941, the Ustaše, under the command of Boško Cvjenćek, captured and transported a group of 74 Serbs from Pale to the Kruščica camp with the false explanation that they were going to work and earn money.	1941 年 7 月底，烏斯塔沙人 (Ustaše) 在 Boško Cvjenćek 的指揮下，俘虜了一群 74 名塞爾維亞人 (Serbs)，並將其從帕萊 (Pale) 運送到克鲁斯奇卡 (Kruščica) 集中營，並謊稱他們要工作和賺錢。
All of them were killed.	他們都被殺了。
All of them were cruelly massacred by Ustaše during the night on 5 August 1941.	在 1941 年 8 月 5 日的夜間，他們所有人都被烏斯塔沙人殘忍地屠殺。
According to a 2001 work published by Hrvatski informativni centar and authored by Topalović, imprisoned Serbs were actually political prisoners who attacked the Ustaše, attempting to kill them, refusing all calls for surrender, so the Ustaše were forced to kill them.	根據 Hrvatski informativni centar 於 2001 年出版並由 Topalović 著作的一部作品，被監禁的塞爾維亞人實際上是政治犯，他們襲擊且試圖殺死烏斯塔沙人，並且拒絕了所有投降的呼籲，因此烏斯塔沙人被迫殺死他們。
Topalović also emphasized that the Ustaše commander of the camp, Josip Tehler was killed attempting to suppress the rebellion.	Topalović 還強調，集中營的烏斯塔沙指揮官 Josip Tehler 在試圖鎮壓叛亂時被殺。
The first transport of inmates arrived at Kruščica between 28 August and 1 September 1941, when around 1,000 people, mostly Jewish women and children, were transported from concentration camps on Pag and in Gospić.	1941 年 8 月 28 日至 9 月 1 日之間第一批囚犯抵達克鲁斯奇卡，當時約有 1,000 人（其中大多數是猶太婦女和兒童）從帕格 (Pag) 和戈斯皮奇 (Gospić) 的集中營被運走。
During the night of 3 September 1941, members of the Ustaše broke into the houses of Jewish residents of Sarajevo, captured the inhabitants, and transported them to Kruščica.	1941 年 9 月 3 日夜間，烏斯塔沙成員闖入塞拉耶佛 (Sarajevo) 猶太居民的房屋，俘虜了居民，並將他們運送到克鲁斯奇卡。
The next day, the Ustaše plundered the homes of imprisoned Jewish victims.	第二天，烏斯塔沙人掠奪了被監禁的猶太受害者的家園。
At the beginning of September 1941, there were approximately 3,000 people interned in Kruščica camp, including 300 Serb women and children, with the remainder being Jews.	1941 年 9 月初，大約有 3,000 人被關押在克魯什奇察集中營，其中包括 300 名塞爾維亞婦女和兒童，其餘是猶太人。
All were housed in two buildings, 80 people to each room, without basic living conditions.	所有人都住在兩棟樓中，每個房間 80 人，沒有基本的生活條件。
The Jewish community from Zagreb sent carloads of packages to inmates in Kruščica.	來自薩格勒布 (Zagreb) 的猶太社區寄送了一車包裹給克鲁斯奇卡的囚犯。
Local Ustaše burned these before the eyes of hungry children and women, who were unable to retrieve anything.	當地的烏斯塔沙人在饑餓的兒童和婦女眼前燒毀了這些，他們無法取回任何東西。
It was difficult to accommodate and feed the inmates of this camp, so the Ustaše decided to resolve this difficulty by torturing inmates with forced labour and hunger and by killing them.	這個集中營的囚犯很難容納和餵養他們，所以烏斯塔沙人決定以強迫勞動和饑餓方式折磨囚犯並殺死他們來解決此困難。
The camp was destroyed after the Second World War.	該集中營在第二次世界大戰後被摧毀。
One building was restored, and a memorial area, occupying around 2,000 m² was established, consisting of the restored building (containing a museum), a monument created by Fadil Bilić, incorporating a text from Ivan Goran Kovačić's poem Jama, and several memorial plaques commemorating communities interned in the camp (including those from Zenica and Pale).	一座建築被修復，並建立了一個佔地約 2,000 平方公尺的紀念區，這包括經過修復的建築（包含博物館），由 Fadil Bilić 設立的紀念碑，融合了 Ivan Goran Kovačić's 的詩歌 Jama 的本文，以及幾塊紀念集中營中被拘留的社區（包括 Zenica 和 Pale 的紀念碑）。
This memorial area became known as the 'Black House' (Crna kuća).	這個紀念區被稱為「黑屋」 (Crna kuća)。
During the War in Bosnia & Herzegovina, the museum's contents were removed.	在波士尼亞與赫塞哥維納 (Bosnia & Herzegovina) 戰爭期間，博物館的內容被去除了。
In 2014, the site was declared a National Monument of Bosnia and Herzegovina.	2014 年，該遺址被宣佈為波士尼亞與赫塞哥維納國家紀念碑。
Originally, Silberling envisioned employing novice actors in the lead roles, but acknowledged performers with the level of recognition of Cage and Meg Ryan would attract support for the production.	布萊德 (Silberling) 原先想僱用新秀演員擔任主角，但明白演技深受肯定的凱吉 (Cage) 和梅格·萊恩 (Meg Ryan) 對於製片將成為具吸引力的支持。
After having completed action-oriented roles in The Rock, Con Air and Face/Off, Cage was eager to star in a more profound film when he received Stevens' screenplay.	凱奇在演出《絕地任務》(The Rock)、《空中監獄》(Con Air) 和《變臉》(Face/Off) 等動作片角色後，在接到史蒂文斯 (Stevens) 的劇本後，渴望出演一部更深刻的電影。
He agreed to accept the role, noting the spiritual issues in the story and the impact it had on him, but not elaborating on his own beliefs.	凱奇同意擔任賽斯 (Seth) 角色，他注意到故事中的靈性議題及其對他的影響，但沒有詳細說明自己的信仰。
Ryan also agreed to accept the role of Maggie, remarking "I don't know if angels are floating around, but the idea that there's a guiding force is something I embrace".	萊恩也同意擔任瑪姬 (Maggie) 這個角色，他說：「我不知道天使是否漂浮在周圍，但有一種引導力的想法是我所接受的。」
Andre Braugher, an actor on the television series Homicide: Life on the Street, was able to work on the project while Homicide was on break before the beginning of its sixth season.	電視劇《情理法的春天》（Homicide: Life on the Street）的演員安德魯·布瑞格 (Andre Braugher) 在《情理法的春天》第六季開始前的休息時間期間，他能夠參與這部電影。
His new co-star Dennis Franz was also starring on a police procedural series, NYPD Blue.	他的新聯合主演丹尼斯·法蘭茲 (Dennis Franz) 還出演了一部警察程序系列劇《紐約重案組》(NYPD Blue)。
Cage said that with this role, he had to switch from his regular methods of constant movements to trying to be "effective" while often still.	凱奇說，由於演出這個角色，他必須從保持定期經常運動轉變為試圖「有效率」的運動。
He remarked on having to adopt the mindset of a child, and act impressed by commonplace experiences such as feeling rain or sunlight.	他評論說，必須懷有赤子之心，並對感受雨水或陽光等司空見慣的體驗有印象深刻。
A rig for the camera was built for the scene where the angelic Seth sees Maggie look in the mirror, and the crew shot the mirror without the actors for one take so Cage's reflection could be edited out from the take with both.	為天使般的賽斯看到瑪姬照鏡子的場景建造了一個攝影機裝備，工作人員在沒有演員的情況下拍攝了鏡子，使得可以從拍攝中編輯出凱奇的反射。
Other special effects involved a "going to the light" afterlife depiction, in which Seth walks with a little girl, played by Sarah Dampf, who has died.	其他特效涉及「走向光明」的來世描繪，其中賽斯與一個小女孩一起走路，這名小女孩由已經去世的莎拉·丹普夫 (Sarah Dampf) 飾演。
After cinematographer John Seale shot the scene in a hallway, Sony Pictures Imageworks' John Nelson increased the brightness to end in white, adding splinters of light.	在攝影師約翰·西爾 (John Seale) 在走廊里拍攝了這個場景後，索尼圖形影象動作公司 (Sony Pictures Imageworks) 的約翰•尼爾森 (John Nelson) 將亮度加到白色，增添光的碎片。
Some of the film was shot at Lake Tahoe's surrounding areas and Kern County.	這部電影的部分內容是在太浩湖 (Lake Tahoe) 的周邊地區和克恩郡 (Kern County) 拍攝。
The "falling" scene was partially shot at the Los Angeles Bank of America, while Cage was placed on a moving rig over a bluescreen.	「墜落」的場景部分是在洛杉磯美國銀行拍攝的，而凱奇則在藍幕上方的移動鑽機上。
Ryan's death scene was filmed on Old Mill Road in Crestline, California.	萊恩的死亡場景是在加州克雷斯特萊恩 (Crestline) 的 Old Mill Road 拍攝。
The library scenes were shot at San Francisco Public Library.	圖書館場景是在舊金山公立圖書館 (San Francisco Public Library) 拍攝。
For angel scenes shot at Malibu Beach, though the characters are not physical beings, it was decided that the angels would have briefly visible footprints to avoid the perception that the sand was too hard to leave imprints.	對於在馬里布海灘 (Malibu Beach) 拍攝的天使場景，雖然角色不是有形存在體，但決定天使會有短暫的可見腳印，以避免人們認為沙子太難留下印記。
Thus, Nelson erased the footprints soon after they are first seen.	因此，尼爾森 (Nelson) 在第一次看到腳印後不久就把它們抹去了。
The score was composed by Gabriel Yared, often using three notes to convey ascent.	電影配樂由蓋布瑞·雅德 (Gabriel Yared) 作曲，通常使用三個音符來傳達上天堂。
Pop synthesizers, pianos and strings were used for the three-note compositions where the angels observe Los Angeles, where the child in the prologue dies and where Seth experiences Maggie's despair, respectively.	在天使觀察洛杉磯、序幕中的孩子死亡和賽斯分別經歷瑪姬的絕望等三段場景中使用流行合成器、鋼琴及弦樂作為配樂。
Yared also employed violins and celli, sometimes using one to accompany a line of voice-over dialogue and another for follow-up dialogue.	雅德還使用小提琴和大提琴，有時使用一把小提琴伴奏一行旁白對話，另一把伴奏後續對話。
With the entry of Japan into the war, Fairley flew to Java in January 1942.	隨著日本參戰，費爾利 (Fairley) 於 1942 年 1 月飛往爪哇 (Java)。
Fairley was well aware that Java produced 90% of the world's supply of quinine and that the implications would be serious if Java was lost.	費爾利很清楚，爪哇生產世界上 90% 的奎寧供應，如果爪哇淪陷，影響將極嚴重。
He arranged for the purchase of all available stocks of quinine, some 120 long tons (120 t).	他安排購買所有可用的奎寧庫存，約 120 長噸 (120 t)。
Fairley was informed that the quinine had been loaded on board two ships.	費爾利被告知奎寧已被裝載在兩艘船上。
One was never seen again.	其中一艘船再也沒見過。
The other, the SS Klang, reached Fremantle in March.	另一艘船是黨衛軍巴生號 (SS Klang)，於三月抵達弗里曼特爾 (Fremantle)。
Although 20 long tons (20 t) of quinine was loaded on board, it was apparently unloaded when the ship stopped at Tjilatjap, possibly due to fifth columnists.	雖然船上裝載了 20 長噸 (20 t) 奎寧，但當船停在 Tjilatjap 時，顯然被卸貨了，嫌疑人可能是第五縱隊成員。
Thus, none of the shipment reached Australia.	因此，沒有一批奎寧到達澳大利亞。
Fairley himself departed Java with the I Corps staff on the transport Orcades on 21 February 1942 shortly before Java fell.	費爾利本人於 1942 年 2 月 21 日與第一軍團參謀人員在爪哇淪陷前不久乘坐運輸隊一起離開爪哇。
In General Sir Thomas Blamey's reorganisation of the Australian Army in April 1942, Fairley was appointed director of medicine at Allied Land Forces Headquarters (LHQ) in Melbourne.	1942 年 4 月，托馬斯·布萊梅 (Thomas Blamey) 爵士對澳大利亞陸軍進行了重組，費爾利被任命為墨爾本盟軍陸軍總部 (LHQ) 醫學主任。
Fairley was soon facing a series of medical emergencies caused by the Kokoda Track campaign.	費爾利很快就面臨由科科達小徑戰役 (Kokoda Track campaign) 引起的一系列醫療緊急情況。
An epidemic of bacillary dysentery was headed off by Fairley's decision to rush all available supplies of sulphaguanadine to New Guinea.	由於費爾利決定將所有可用的磺胍定 (sulphaguanadine) 供應緊急運往新幾內亞，阻止了桿菌性痢疾的流行。
On Fairley's advice every man who complained of diarrhoea was given the drug and the epidemic was brought under control in ten days.	由於費爾利決定將所有可用的磺胍定 (sulphaguanadine) 供應緊急運往新幾內亞，阻止了桿菌性痢疾的流行。
But Fairley's main concern was malaria.	但費爾利主要關心的是瘧疾。
Despite the experience with malaria in the Middle East, most of the troops had a poor understanding of anti-malaria precautions and few medical officers had encountered the disease.	儘管大多數部隊在中東有瘧疾方面的經驗，但對抗瘧疾預防措施知之甚少，很少有醫務人員遇到過這種疾病。
In combination with critical shortages of drugs and anti-malarial supplies such as netting, insecticides and repellents, the result was a medical disaster.	再加上蚊帳、殺蟲劑和驅蟲劑等藥物和抗瘧疾用品嚴重短缺，結果是一場醫療災難。
In the 13-week period from 31 October 1942 to 1 January 1943, the Army reported 4,137 battle casualties, but 14,011 casualties from tropical diseases, of which 12,240 were from malaria.	在 1942 年 10 月 31 日至 1943 年 1 月 1 日的 13 週內，陸軍報告 4,137 名戰鬥傷亡，但 14,011 人死於熱帶疾病，其中 12,240人 死於瘧疾。
The government grimly contemplated disbanding divisions to replace malaria casualties.	政府嚴厲考慮解散各部門以取代瘧疾傷亡。
"Our worst enemy in New Guinea," General Blamey declared, "is not the Nip—it’s the bite."	布萊梅將軍宣稱，「我們在新幾內亞最大的敵人，不是日本人，而是咬人。」
This caused Blamey to despatch a medical mission headed by Fairley to the United States and the United Kingdom in September 1942 to present the Army's case for a more adequate and equitable share of anti-malarial supplies.	這導致布萊梅於 1942 年 9 月派遣了一支由費爾利率領的醫療團前往美國和英國，向陸軍提出更充分、更公平地分配抗瘧疾物資的理由。
Illinois farmer David Johnson built his 31-foot-tall (9.4 m) goat tower in Shelby County, near Findlay, after seeing an article on Fairview in the magazine Decanter.	伊利諾伊州 (Illinois) 農民 David Johnson 在芬德利 (Findlay) 附近的謝爾比郡 (Shelby County) 建造了他的31英尺高 (9.4米) 的山羊塔，他在《品醇客》(Decanter) 雜誌上看到了一篇關於 Fairview 的文章。
Another goat tower was built in the outdoor-seating area of Silky O'Sullivan's bar in Memphis, Tennessee on Beale Street.	另一座山羊塔建在田納西州孟菲斯市區比爾街 (Memphis, Tennessee on Beale Street) 的 Silky O'Sullivan 酒吧的戶外座位區。
In a Waunakee, Wisconsin goat petting zoo, a goat tower was built by the Endres family.	在威斯康星州 Waunakee 的山羊寵物動物園，Endres 家族建造了一座山羊塔。
The tower was designed in a Bavarian style to match other buildings of the area.	為了匹配該地區的其他建築，該塔的設計採用巴伐利亞風格。
The owners claim it is the fifth goat tower ever constructed after the ones in Fairview, the “Tower of Baaa” in Findlay, Memphis, and Ekeby.	業主聲稱這是繼 Fairview、Findlay、Memphis 和 Ekeby 的「Tower of Baaa」之後建造的第五座山羊塔。
Life at the Bottom has received mostly positive reviews.	《底層生活》(Life at the Bottom) 獲得了大多推崇的評價。
Gregory Schneider of the Topeka Capital-Journal called the collection "the best exploration of the problems of poverty ever written." America magazine writer, Peter Heinegg, considered the essays to be a "barrage of breathtakingly horrible true-life...stories", but he said that Dalrymple puts too much of his personal "snorting indignation" into the text without letting the reader draw their own conclusions.	《托彼卡首府日報》(Topeka Capital-Journal) 的 Gregory Schneider 稱該集是「有史以來對貧困問題的最佳探索」。美國雜誌作家 Peter Heinegg 認為這些文章是「令人歎為觀止的可怕真實生活的彈幕......故事」，但他說，Dalrymple 將太多他個人的「嗤之以鼻的憤慨」放入內文中，而沒有讓讀者得出自己的結論。
He ended by saying, "Dalrymple's case sounds like a paranoid tirade or perverse tribute, but it is at least partially redeemed by the barrage of breathtakingly horrible true-life (one assumes) stories that this very angry doctor tells...to bolster it." John Clark of Liberty magazine called it "so compelling...that I read it cover to cover in a day's time—and later reread it twice."	他最後說：「Dalrymple的案件聽起來像是偏執狂的長篇大論或反常的致敬，但它至少部分地被這個非常憤怒的醫生講述的令人歎為觀止的可怕的真實生活 (人們假設) 故事所救贖......以加強它。」《自由》(Liberty) 雜誌的 John Clark 稱其為「如此引人注目......我在一天的時間內一遍又一遍地讀了它-後來又重讀了兩遍。」
Thomas Sowell, a pundit and social critic, described it as "brilliant and insightful" in Capitalism magazine and "an insightful and devastating eyewitness account of the white underclass in Britain" in the Jewish World Review.	權威人士和社會評論家 Thomas Sowell 在《資本主義》(Capitalism) 雜誌上將其描述為「輝煌而富有洞察力」，並在《猶太世界評論》 (Jewish World Review) 上稱其為「對英國白人下層階層階級的深刻而毀滅性的目擊者描述」。
Overall, Sowell said that the collection was able to explain that "One of the most telling examples of the social destructiveness of the left's welfare-state vision can be found among the white slum dwellers in Britain." Atlanta Journal-Constitution writer, Theresa K. Weaver, called the collection "saddening, infuriating, and ultimately not terribly empowering", stating that she wishes Dalrymple "might at least offer a few ideas on turning everything around." Arthur Foulkes of the Carolina Journal described it as a "fine book" that "offers much to friends of liberty everywhere." Roger Donway of The Atlas Society considered it to be "one of the most instructive books that I have read in many years".	整體而言，Sowell 說，這些作品集能夠解釋「左翼福利國家願景的社會破壞性的最明顯的例子之一可以在英國的白人貧民窟居民中找到。」《亞特蘭大憲法報》(Atlanta Journal-Constitution) 的作者 Theresa K. Weaver 稱該系列「令人悲傷，令人憤怒，最終並不是非常強大」，並表示她希望Dalrymple「至少可以提供一些關於扭轉一切的想法」。《卡羅來納日報》(Carolina Journal) 的 Arthur Foulkes 將其描述為一本「好書」，「為世界各地的自由朋友提供了很多意涵」。《阿特拉斯協會》(The Atlas Society) 的 Roger Donway 認為它是「我多年來讀過的最具啟發性的書之一」。
Stephen Goode, writing for Insight on the News, said that the collection argued its "position brilliantly and with impressive passion".	Stephen Goode 為《新聞透視》(Insight on the News) 撰稿稱，該系列「出色地、以令人印象深刻的熱情論證了自己的地位」。
The National Observer wrote that it "has much value", if it is taken as an "antidote to fashionable loose thinking".	《國家觀察員》(National Observer) 寫道，如果該系列被視為「時髦鬆散思維的解毒劑」，就「具有很大價值」。
Phips arrived back in Boston in the summer of 1688 and was welcomed back as a hero.	Phips 於 1688 年夏天回到波士頓，並受到英雄般歡迎。
His wife seemed very happy to see him.	他的妻子看到他似乎很高興。
He was celebrated in sermons and at the Harvard college commencement he was compared to Jason fetching the Golden Fleece.	他在佈道中受到讚揚，在哈佛大學的畢業典禮上，他被比作 Jason 拿金羊毛。
Andros and Randolph were not so happy to see him and it seems the feeling was mutual.	Andros 和 Randolph 見到他並不那麼高興，似乎這種感覺是相互的。
Almost all of New England was unified in their opposition to Andros and Randolph.	幾乎整個新英格蘭都團結一致反對 Andros 和 Randolph。
Phips, despite having been captain of Randolph's gunship in 1683-4, does not seem to have carried an association with Randolph in the minds of the people of Massachusetts Bay.	Phip 儘管在 1683-1684 年擔任 Randolph 砲艦機的機長，但在麻薩諸塞灣 (Massachusetts Bay) 人民的心目中似乎對 Randolph 沒有印象。
Andros swore Phips into his new post in early July, but his council refused Phips' demand that the previously named sheriffs be dismissed.	Andros 使 Phips 在七月初宣誓就職，但 Phips 解僱先前任命的治安官的要求遭議會拒絕。
If Phips had simply wanted a share in the spoils of the Dominion, he might have stuck around and kept his head down.	如果 Phips 只是想分享自治領地的戰利品，他可能會留下來且保持低調。
Instead he stayed home in Boston only six weeks before shipping back to London to join with Increase Mather in opposing the Dominion and seeking to restore the original charter.	反而是，他只在波士頓的家中呆了六個星期，然後運回倫敦，與 Increase Mather 一起反對自治領地，並試圖恢復原始憲章。
This seems to be the first mention of Phips in Increase Mather's diary or correspondence.	這似乎是在 Increase Mather 的日記或信件中第一次提到 Phips。
Motivated by a shared dislike of Andros, Phips and Increase Mather worked together to bring about his downfall.	在對 Andros 的共同厭惡的驅使下，Phips 和 Increase Mather 共同努力，導致了他的垮臺。
After the Glorious Revolution in late 1688 replaced the Catholic James with the Protestant monarchs William III and Mary II, Phips and Mather petitioned the new monarchs for restoration of the Massachusetts charter, and successfully convinced the Lords of Trade to delay the transmission of formal instructions about the change of power to Andros.	1688年末光榮革命 (Glorious Revolution) 以新教君主威廉三世 (William III) 和瑪麗二世 (Mary II) 取代天主教的 James 後，Phips 和 Mather 請求新君主恢復馬薩諸塞州憲章，並成功地說服貿易局 (Board of Trade) 推遲向 Andros 傳遞關於權力更迭的正式指示。
Phips returned to Boston in May 1689, carrying proclamations from the king and queen, and found Andros and Randolph had already been arrested in a revolt in Boston.	1689 年 5 月，Phips 帶著國王和王后的詔書回到波士頓，發現 Andros 和 Randolph 已經在波士頓的一次叛亂中被捕。
Phips served for a time as an overseer guarding Andros and Randolph in the prison at Castle Island.	Phips 曾一度擔任監視者，在城堡島 (Castle Island) 的監獄里看守 Andros 和 Randolph。
If Paris were worth a mass to Henry IV, Boston was worth a conversion, in the Puritan sense, to William Phips.	如果對亨利四世 (Henry IV) 來說巴黎確實值得舉行彌撒，則在清教徒的意義上，波士頓就值得任命給 William Phips。
The turmoil in England and William's accession to the throne had prompted New France's Governor to take advantage of the political turmoil in New England, launching a series of Indian raids across the northern frontier in 1689 and early 1690.	英格蘭的動蕩和威廉登基促使新法蘭西總督利用新英格蘭的政治動蕩，在 1689 年和 1690 年初發動了一系列印第安人對北部邊境的襲擊。
When a frontier town in Maine was overrun in early March 1690, the French were perceived as instigators and the provisional government of Massachusetts, began casting about for a major general to lead an expedition against the French in Acadia.	1690 年 3 月初，緬因州 (Maine) 的一個邊防城鎮被佔領，法國人被視為煽動者，馬薩諸塞州 (Massachusetts) 臨時政府開始尋找一名少將，率領遠征阿卡迪亞 (Acadia) 的法國人。
Phips had not demonstrated military interests as a young man.	Phips 年輕時沒有展現出對軍事有興趣。
During King Philip's War, when many took up arms, Phips built ships and cut lumber.	在菲利普國王戰爭 (King Philip's War) 期間，當許多人拿起武器時，Phips 建造了船隻並砍伐木材。
John Knepp's journal testifies to Phips constitutional disinterest in military discipline.	John Knepp 的日記證明瞭 Phips 對軍事紀律的漠不關心。
Alongside her acting work, Kapoor has established a career as a designer.	Kapoor 除了她的表演工作，還另闢設計師的職業生涯。
During her five-year association with the retail chain Globus, Kapoor became the first Indian actress to launch her own line of clothing for women; she described the collaboration as being "special" and "reflective of my personal sense of style".	在與零售連鎖店Globus的五年合作期間， Kapoor 成為第一位推出自己的女性服裝系列的印度女演員。她將這次合作描述為「別樹一幟」和「反映了我個人的風格感」。
Her collection made its debut several months later in stores across India, and was well received.	幾個月後，她的系列在印度各地的商店首次亮相，並受到好評。
Following the end of her contract with Globus, she expressed a desire to work with a design house to release her clothing line internationally, but later explained that those plans were on hold.	在與 Globus 的合約結束後，她表示希望與一家設計公司合作，在國際上發佈她的服裝系列，但後來解釋說，這些計劃被擱置了。
In August 2018, Kapoor collaborated with Lakmé Cosmetics to launch her own line of cosmetics.	2018 年 8 月，Kapoor 與 Lakmé Cosmetics 合作推出了自己的化妝品系列。
In 2009, Kapoor worked with nutritionist Rujuta Diwekar on Don't Lose Your Mind, Lose Your Weight, a book which focused on the principles of healthy eating habits.	2009 年，Kapoor 與營養學家 Rujuta Diwekar 合作出版了《Don't Lose Your Mind, Lose Your Weight》這本書，這本書專注於健康飲食習慣的原則。
Published by Random House Publications, the book was well received by critics, and sold 10,000 copies within its first twenty days.	這本書由蘭登書屋出版社 (Random House Publications) 出版，受到評論家的好評，並在前二十天內售出 10,000 冊。
A follow-up titled, Women and The Weight Loss Tamasha, was released two years later.	兩年後，一本名為《Women and The Weight Loss Tamasha》的後續作品上映。
It addressed the weight loss concerns and eating habits of women in various parts of their life, and featured Kapoor in a voice-over for the audiobook.	內容解決了女性在生活各個階段的減肥問題和飲食習慣，並在有聲讀物的旁白中展示 Kapoor。
In February 2013, Kapoor released her autobiographical memoir: The Style Diary of a Bollywood Diva.	2013年2月，Kapoor 出版自傳回憶錄《The Style Diary of a Bollywood Diva》。
Co-written alongside Rochelle Pinto, it became the first book to be launched under the Shobhaa De imprint of Penguin Books—a set of series that included celebrity memoirs, guides and biographies.	Kapoor 與 Rochelle Pinto 合著，成為第一本以企鵝出版集團 (Penguin Books) 的Shobhaa De 印記推出的書，該系列包括名人回憶錄、指南和傳記。
In a review published by Mint, Shefalee Vasudev criticised the writing style as "too-breezy" but further stated that it is "a well-produced book, reproducing chirpy little post-it notes and diet charts, punctuated with Bebo's stunning pictures from her private albums to fashion magazine covers." Later that year, she collaborated with Diwekar for the third time on The Indian Food Wisdom and The Art of Eating Right, a documentary film about nutrition.	在 Mint 發表的一篇評論中，Shefalee Vasudev 批評這種寫作風格「太輕快」，但進一步表示這是「一本製作精良的書，再現了嘰嘰喳喳的小便利貼和飲食圖表，穿插著 Bebo 從她的私人專輯到時尚雜誌封面的驚人照片。」同年晚些時候，她第三次與Diwekar合作拍攝了關於營養紀錄片的《The Indian Food Wisdom》和《The Art of Eating Right》。
During her years in the film industry, Kapoor has been actively involved in promoting children's education and the safety of women.	在電影業的幾年裡，Kapoor 一直積極參與促進兒童教育和婦女安全。
In June 2010, she took part in the international campaign 1GOAL Education for All, and was appointed ambassador for the Shakti Campaign—a project launched by NDTV to combat violence against women—in commemoration of the 100th anniversary of International Women's Day.	2010 年 6 月，她參加由 NDTV 發起「1GOAL 全民教育」國際運動，並被任命為 Shakti 運動的大使，此運動旨在打擊暴力侵害婦女行為，以紀念國際婦女節 100 週年。
Two years later, Kapoor launched Channel V's anti-rape mobile app 'VithU'; she stated that with an increasing amount of violence against women in India, "[i]t [was] important for actors to stand up for issues because they can reach out to a lot of people."	兩年後，Kapoor 推出了第五頻道的反強姦移動應用程式「VithU」；她說，隨著印度針對婦女的暴力事件越來越多，「對於行動者來說，挺身而出解決問題非常重要，因為他們可以接觸到很多人。」
In January 2014, Kapoor began working with UNICEF to advocate the education of girls and increase quality based education in India.	2014 年 1 月，Kapoor 開始與聯合國兒童基金會合作，宣導印度女童教育，提高優質教育水準。
Speaking of her association, she expressed hope in creating places "where children feel safe and secure, and where interactive and creative tools are used to ensure that children are happy and learning." During the first year, Kapoor visited schools in the states of Rajasthan and Maharashtra where she interacted with students and participated in fundraising events hosted by the Kasturba Gandhi Balika Vidyalaya organisation in the Jalna district.	在談到她的協會時，她表示希望創造「孩子們感到安全和有保障的地方，以及使用互動和創造性工具來確保孩子們快樂和學習的地方。」在第一年，Kapoor 造訪拉拉賈斯坦 (Rajasthan) 和馬哈拉施特拉邦 (Maharashtra) 的學校並且與學生互動，也參加了由賈爾納 (Jalna ) 區 Kasturba Gandhi Balika Vidyalaya 組織主辦的籌款活動。
Along with UNICEF India's Goodwill Ambassador (Sharmila Tagore), Kapoor hosted a charity dinner to help raise awareness for the development of underprivileged kids, and launched the 'Child-Friendly School and Systems' (CFSS) package.	Kapoor 與聯合國兒童基金會 (UNICEF) 駐印度親善大使 Goodwill Ambassador (Sharmila Tagore) 一起舉辦了慈善晚宴，協肋提高對貧困兒童發展的認識，並推出了「兒童友好學校和系統」(Child-Friendly School and Systems, CFSS) 一系列計劃。
She later donated an equivalent amount of the funds raised during a joint initiative by UNICEF and Groupon for a higher-quality learning environment in Indian schools.	後來，她捐贈了在聯合國兒童基金會 (UNICEF) 和 Groupon 聯合倡議期間籌集的等量資金，用於在印度學校創造更高品質的學習環境。
The following year, she awarded 31 students and 5 teachers for their contribution towards the field of education in Chhattisgarh at the concluding ceremony of Child Rights Protection week.	次年，她在兒童權利保護週的閉幕式上表彰了31名學生和5名教師，以表彰他們對恰蒂斯加爾邦 (Chhattisgarh) 教育領域的貢獻。
In the Bahamas after the storm, a boat sailed from Nassau to deliver food and building materials to Eleuthera.	在巴哈馬群島，風暴過後，一艘運送食物和建築材料的船從拿騷 (Nassau) 駛向伊柳塞拉島 (Eleuthera)。
After the storm, the National Guard offered shelters for at least 400 homeless residents in Stuart.	風暴過後，國民警衛隊為斯圖爾特 (Stuart) 的至少 400 名無家可歸的居民提供庇護所。
Of the 7,900 families adversely affected by the hurricane, 4,325 required assistance from the American Red Cross.	有 7,900 個家庭受到颶風不利的影響，其中 4,325 個家庭需要美國紅十字會的援助。
Farmers in Texas, also affected by a major hurricane, requested growers in Florida wait 15 days so they could sell their citrus crop that fell.	德克薩斯州 (Texas) 的農民也受到一場大颶風的影響，他們要求佛羅里達州的種植者等待 15 天，讓他們可以出售他們倒下的柑橘作物。
The damaged dam near Tampa initially resulted in waters from the Hillsborough River being pumped into the city's water treatment plant, and a new dam was eventually built in 1944.	坦帕 (Tampa) 附近受損的大壩最初導致希爾斯伯勒河 (Hillsborough River) 的水流入該市的水處理廠，最終於 1944 年建造了一座新大壩。
After starring in a commercial by Mr. Burns for the Springfield Nuclear Power Plant, Homer decides to be an actor.	荷馬 (Homer) 主演了郭董 (Burns) 為內糊核電站 (Springfield Nuclear Power Plant) 的商業廣告後，決定成為一名演員。
As he fills out a Screen Actors Guild form at home, Lisa points out that he has only written his middle initial, J, in the blank for his middle name.	當他在家裡填寫電影演員工會表格時，莉莎 (Lisa) 指出他只在中間名的空白處寫下了他的中間名首字母 J。
Neither Homer nor Grampa knows that name, but Grampa takes Homer to a farm where Mona, Grampa's wife and Homer's mother, spent some time during her days as a hippie.	荷馬和荷熊 (Grampa) 都不知道這個名字，但荷熊把荷馬帶到了一個農場，荷熊的妻子、荷馬的母親莫娜 (Mona) 在那裡裝作嬉皮度過了一段時間。
The farm is run by two middle-aged hippies, Seth and Munchie, who were friends of Mona; they point out a mural that she painted based on an incident at Woodstock, which is dedicated to Homer and reveals his middle name as Jay.	農場由兩個中年嬉皮塞斯 (Seth) 和麥奇 (Munchie) 經營，他們是莫娜的朋友。他們指出她根據伍德斯托克 (Woodstock) 的一次事件繪製的壁畫中有荷馬的中間名傑伊 (Jay)，該壁畫是獻給他的。
Seeing how carefree his life would have been as a hippie, Homer decides to become one.	荷馬看到嬉皮的生活是多麼無憂無慮，決定成為嬉皮。
He dons a dirty old poncho left behind by Mona and begins to carry a frisbee, but is dismayed to learn that Seth and Munchie are running an organic juice company at the farm.	荷馬穿上了莫娜留下的一件骯髒的舊雨披，開始攜帶飛盤，但得知賽斯和蒙奇在農場經營一家有機果汁公司時，他感到沮喪。
He persuades them to accompany him on a "freak-out" ride through Springfield, disrupting the citizens' daily lives with silly antics.	荷馬說服賽斯和蒙奇陪他一起在春田鎮 (Springfield) 進行「瘋狂」的旅程，用愚蠢的滑稽動作擾亂了市民的日常生活。
When the three return to the farm afterward, though, they find that Homer's frisbee has jammed the juicing machinery and caused the loss of an entire shipment of the farm's products.	然而，當三人回到農場後，他們發現荷馬的飛盤卡住了榨汁機械，並導致整個農場產品的運輸損失。
Seth and Munchie angrily order Homer to leave.	賽斯和蒙奇憤怒地命令荷馬離開。
To set things right, Homer sneaks back to the farm at night, picks and processes all the vegetables he can find, and delivers the juice shipment to Springfield.	為了把事情做好，荷馬晚上偷偷溜回農場，挑選並處理了他能找到的所有蔬菜，然後將果汁運到春田鎮。
In so doing, he unknowingly harvests a hidden field of peyote, which Seth and Munchie had intended for their personal use as recreational drugs.	在過程中，荷馬在不知不覺中採收一片隱藏的烏羽玉田地，這是賽斯和蒙奇打算作為娛樂性毒品供他們個人使用的。
The juice causes intense psychedelic hallucinations in those who drink it, and the police quickly trace it to the farm and move in to arrest Homer, Seth, and Munchie.	喝這種果汁的人會產生強烈的迷幻幻覺，員警迅速追蹤到農場並進入逮捕荷馬、賽斯和蒙奇。
Homer defends Seth and Munchie by placing himself in the officers' path, reminding them of the morals and values from the 1960s, and placing a flower in the barrel of each officer's rifle.	荷馬為賽斯和蒙奇辯護，將自己假想是警官上，提醒他們 1960 年代的道德和價值觀，並在每個警官的步槍槍管中放置一朵花。
When Chief Wiggum fires, Homer ends up hospitalized with one of the flowers lodged in his skull.	當維古姆 (Wiggum) 警長開槍時，荷馬最終住院，其中一朵花卡在他的頭骨裡。
"D'oh-in' in the Wind" was written by Donick Cary and directed by Mark Kirkland and Matthew Nastuk.	《D'oh-in' in the Wind》由 Donick Cary 編劇，Mark Kirkland 和 Matthew Nastuk 執導。
It was first broadcast on the Fox network in the United States on November 15, 1998.	這一集於 1998 年 11 月 15 日在美國福克斯電視網首次播出。
The idea for the episode was pitched by Cary, who thought it would be fun to see the citizens of Springfield hallucinating.	這一集的想法是由卡里 (Cary) 提出的，他認為看到春田鎮的公民產生幻覺會很有趣。
He then fleshed it out, forming its current iteration.	然後，他充實了內容，形成目前的反覆橋段。
The episode features the revelation of Homer's middle name, "Jay", which is a "tribute" to animated characters such as Bullwinkle J. Moose and Rocket J. Squirrel from The Rocky and Bullwinkle Show who got their middle initial from Jay Ward.	這一集的特色是荷馬的中間名「傑伊」的啟示，這是對動畫人物的「致敬」，如《鹿兄鼠弟》(The Rocky and Bullwinkle) 中的 Bullwinkle J. Moose 和 Rocket J. Squirrel，他們從 Jay Ward 沿用他們的中間名首字母。
The name was pitched on for three days by the writers.	這個名字被作家們用了三天。
DE 62 heads southeast from DE 2 (Kirkwood Highway) on the Newport Gap Pike, a two-lane undivided road.	DE 62 從 DE 2 (柯克伍德高速公路 (Kirkwood Highway)) 沿著 Newport Gap Pike 向東南方向延行，這是一條無左右行車線的雙車道道路。
Newport Gap Pike continues northwest past this intersection as DE 41.	Newport Gap Pike 繼續向西北方向延行，經過這個交叉路口成為 DE 41。
The road crosses Old Capitol Trail, which marks the official beginning of the route.	這條路穿過舊國會大廈小徑，這標誌著路線的正式開始。
DE 62 heads through suburban residential and commercial developments, crossing the Wilmington and Western Railroad and CSX's Philadelphia Subdivision railroad line.	DE 62 穿過郊區住宅和商業開發區，穿過威爾明頓和西部鐵路 (Wilmington and Western Railroad) 以及 CSX 的費城分區 (Philadelphia Subdivision) 鐵路線。
The road passes more development and reaches the community of Belvedere, where it comes to a ramp from southbound DE 141.	這條路經過更多的開發區，到達 Belvedere 社區，在此處銜接南行的 DE 141 的坡道。
At this point, the route turns east onto Boxwood Road, a four-lane divided highway, with Newport Gap Pike continuing south to provide access to southbound DE 141.	此時，路線向東轉入 Boxwood Road 四車道高速公路，Newport Gap Pike 繼續南行，提供通往南行 DE 141 的通道。
DE 62 passes over the DE 141 freeway and intersects Centerville Road, which provides access to and from northbound DE 141.	DE 62 穿過 DE 141 高速公路，與提供往返於北行 DE 141 通道的森特維爾路 (Centerville Road) 相交。
Past this intersection, the road becomes two lanes and undivided, passing to the south of the former Wilmington Assembly plant used by General Motors and to the north of residential subdivisions.	經過這個十字路口，道路變成無左右行車線的兩條車道，穿過通用汽車公司 (General Motors) 使用的前威爾明頓裝配廠 (Wilmington Assembly) 的南部和住宅區的北部。
DE 62 continues through more residential neighborhoods, passing to the north of the Conrad Schools of Science, and reaches an intersection with DE 4, where DE 62 signage ends.	DE 62 繼續穿過更多的住宅區，經過康拉德科學學院 (Conrad Schools of Science) 的北部，到達與 DE 4 的交叉路口，DE 62 標誌於此處結束。
The route officially continues east on Middleboro Road through more neighborhoods, intersecting Dupont Road before coming to a dead end.	這條路線正式沿著米德爾伯勒路 (Middleboro Road) 向東延伸，穿過更多的社區，與杜邦路 (Dupont Road) 相交，然後走到死胡同。
DE 62 has an annual average daily traffic count ranging from a high of 23,750 vehicles at the intersection of Newport Gap Pike and Boxwood Road to a low of 283 vehicles at the eastern terminus.	DE 62 的年平均每日交通量從 Newport Gap Pike 與 Boxwood Road 交叉口的 23,750 輛車到東部終點站的 283 輛車不等。
None of DE 62 is part of the National Highway System.	DE 62 都不是國家公路系統的一部分。
What is now the Newport Gap Pike portion of DE 62 was originally chartered as the Gap and Newport Turnpike in 1808, an extension of the 1807-chartered turnpike in Pennsylvania that was to run from Gap, Pennsylvania, southeast to Newport, Delaware.	DE 62 現在的 Newport Gap Pike 部分最初於 1808 年被特許為 Gap and Newport Turnpike，這是賓夕法尼亞州 1807 年特許收費公路的延伸，該收費公路將從賓夕法尼亞州的 Gap 向東南延伸至特拉華州紐波特 (Newport, Delaware)。
By 1920, what is now DE 62 existed as a county road.	到 1920 年，現在的 DE 62 作為縣道存在。
The Newport Gap Pike portion of the route became a state highway by 1925.	到 1925 年，該路線的 Newport Gap Pike 部分成為一條國道。
This state highway became a part of DE 41 by 1936, when Delaware designated its state highways.	到 1936 年，這條州際公路成為 DE 41 的一部分，當時特拉華州指定為州道。
In 1946, Boxwood Road was improved to provide access to the new General Motors plant along the road.	1946 年，Boxwood Road 路進行了改善，可沿路提供通往新通用汽車工廠的通道。
By 1981, DE 62 was designated onto its current alignment, with the Newport Gap Pike section replacing a portion of DE 41.	到 1981 年，DE 62 被指定為目前的路線，Newport Gap Pike 部分取代了 DE 41 的一部分。
In a world where people with superpowers (known as "Quirks" (個性 Kosei)) are the norm, Izuku Midoriya has dreams of one day becoming a Hero, despite being bullied by his classmates for not having a Quirk.	在人擁有超能力 (被稱為「Quirks」(個性 Kosei)) 是常態的世界裡，綠谷出久 (Izuku Midoriya) 夢想著有一天成為英雄，儘管他的同學因為沒有 Quirk 而被欺負。
After being the only one to try and save his childhood bully Katsuki Bakugo from a villain, Japan's greatest Hero All Might saves him and bestows upon him All Might's own Quirk "One For All".	在成為唯一試圖從惡棍手中拯救他童年惡霸爆豪勝己 (Katsuki Bakugo) 的人之後，日本最偉大的英雄歐爾麥特 (All Might) 拯救了他，並賦予歐爾麥特自己的 Quirk「One For All」給他。
The story follows Izuku's entrance into U.A. High School (雄英高校 Yūei Kōkō), a school for training the next generation of superheroes.	故事講述了綠谷進入美國高中 (雄英高校 Yūei Kōkō) 的故事，這是一所培養下一代超級英雄的學校。
Izuku and his new friends try to balance their Hero training with ordinary school duties.	綠谷和他的新朋友試圖在他們的英雄訓練與普通的學校職責之間取得平衡。
However, the League of Villains, an evil organization established by All Might's archenemy All For One, has plans to destroy all Heroes and take control of society.	然而，由歐爾麥特的宿敵 All For One 建立的邪惡組織反派聯盟計劃摧毀所有英雄並控制社會。
My Hero Academia is a Japanese manga series written and illustrated by Kōhei Horikoshi.	《我的英雄學院》是一部日本漫畫系列，由堀越浩平創作和插畫。
It originated from the one-shot My Hero (僕のヒーロー Boku no Hīrō), which Horikoshi wanted to turn into a series following the end of Barrage.	此漫畫起源於單鏡頭的 My Hero (僕のヒーロー Boku no Hīrō)，堀越想在彈幕結束後將其變成一個系列。
It began its serialization in the manga magazine Weekly Shōnen Jump on July 7, 2014.	此漫畫於 2014 年 7 月 7 日開始在漫畫雜誌《週刊少年 Jump》上連載。
As of August 2, 2019, the series has been collected into twenty-four tankōbon volumes.	截至 2019 年 8 月 2 日，該系列已被收集成 24 卷。
The series is licensed for the English-language release in North America by Viz Media, who published the first volume on August 4, 2015.	該系列由 Viz Media 授權在北美發行英文版，Viz Media 於 2015 年 8 月 4 日出版了第一卷。
As the series is published in Japan, it is also released simultaneously in English digitally by Viz Media's Weekly Shōnen Jump.	該系列除了在日本發行外，同時也由 Viz Media 以英文發行數位版少年跳躍周刊。
As of August 7, 2018, 14 volumes have been released.	截至 2018 年 8 月 7 日，一共推出 14 集。
Shueisha began to simulpublish the series in English on the website and app Manga Plus in January 2019.	集英社於 2019 年 1 月起在其網站與 app Manga Plus 同步發行英文版。 
A spin-off series entitled My Hero Academia Smash!!	另外衍生出《我的英雄學院 Smash!!》系列。
by Hirofumi Neda started in the Jump+ digital app on November 9, 2015 and finished on November 6, 2017.	作者為根田啟史，數位版於 2015 年 11 月 9 日開始於 Jump+ app 開始連載，於 2017 年 11 月 6 日結束。
Five tankōbon volumes were released as of November 2017.	截至 2017 年 11 月，共推出 5 冊單行本。
The series has been licensed by Viz Media.	該系列由 Viz Media 取得授權。
Another spin-off series, My Hero Academia: Vigilantes, began being published by Weekly Shōnen Jump in 2017.	其他衍生作品《正義使者－我的英雄學院之非法英雄》，於 2017 年起在少年跳躍周刊開始連載。
The series is licensed for the English-language release in North America by Viz Media.	由 Viz Media 取得該系列英文版的北美發行權。
The first volume was released in English on July 3, 2018.	英文版第一冊於 2018 年 7 月 3 日出版。
On 30 July 1502, during his fourth voyage, Christopher Columbus arrived at Guanaja, one of the Bay Islands off the coast of Honduras.	1502 年 7 月 30 日，克里斯多福・哥倫布來到瓜納哈，這是宏都拉斯海岸諸島的其中之一。
He sent his brother Bartholomew to scout the island.	哥倫布派他弟弟巴托羅謬到島上進行探查。
As Bartholomew explored the island with two boats, a large canoe approached from the west, apparently en route to the island.	當巴托羅謬帶著兩艘船探索該島時，有艘大型獨木舟自西方駛來，顯然是要往島上前進。
The canoe was carved from one large tree trunk and was powered by twenty-five naked rowers.	那艘獨木舟以一棵大樹刻成，由 25 個裸體划船手划動。
Curious as to the visitors, Bartholomew Columbus seized and boarded it.	出自造訪者的好奇，巴托羅謬攔截並登上獨木舟。
He found it was a Maya trading canoe from Yucatán, carrying well-dressed Maya and a rich cargo that included ceramics, cotton textiles, yellow stone axes, flint-studded war clubs, copper axes and bells, and cacao.	他發現這是艘來自猶加敦的馬雅貿易船，船上有精心打扮的馬雅人，還有一個裝滿瓷器、綿織品、黃石斧、以燧石裝飾的作戰用棍棒、銅斧、鐘、可可等物品的貨箱。
Also among the cargo were a small number of women and children, probably destined to be sold as slaves, as were a number of the rowers.	貨物之外，還有幾個女人和孩童，可能是被抓來的奴隸，也充當划船手。
The Europeans looted whatever took their interest from amongst the cargo and seized the elderly Maya captain to serve as an interpreter; the canoe was then allowed to continue on its way.	這些歐洲人把他們看上的貨物搶走，抓了一名老馬雅船長當通譯，然後放走獨木舟，讓它繼續旅程。
This was the first recorded contact between Europeans and the Maya.	這是史上首次歐洲人與馬雅人接觸的記錄。
It is likely that news of the piratical strangers in the Caribbean passed along the Maya trade routes – the first prophecies of bearded invaders sent by Kukulkan, the northern Maya feathered serpent god, were probably recorded around this time, and in due course passed into the books of Chilam Balam.	在加勒比海出現陌生海盜的消息，沿著馬雅貿易路徑傳遞；由馬雅北邊羽蛇神庫庫爾坎首次做出的鬍子入侵者預言，也差不多是在此時寫入了 奇蘭巴蘭之書。
In 1511 the Spanish caravel Santa María de la Barca set sail along the Central American coast under the command of Pedro de Valdivia.	1511 年，西班牙帆船「巴卡的聖瑪利亞號」，在佩德羅・德・巴爾狄維亞指揮下，沿中美洲海岸航行。
The ship was sailing to Santo Domingo from Darién to inform the colonial authorities there of ongoing conflict between conquistadors Diego de Nicuesa and Vasco Nuñez de Balboa in Darién.	該船自達里恩駛向聖多明哥，以向當地殖民統治者通報關於征服者狄亞哥・德・尼古薩與巴斯可・努涅茲・德・巴爾柏之間愈演愈烈的衝突。
The ship foundered upon a reef known as Las Víboras ("The Vipers") or, alternatively, Los Alacranes ("The Scorpions"), somewhere off Jamaica.	這艘船後來在一個稱為「毒蛇」或是「蝎子」的暗礁觸礁沉沒，地點在牙買加附近。
There were just twenty survivors from the wreck, including Captain Valdivia, Gerónimo de Aguilar and Gonzalo Guerrero.	船難中只有 20 人生還，包括船長巴爾狄維亞、傑羅尼莫・德・阿吉拉爾、貢薩羅・格雷洛。
They set themselves adrift in one of the ship's boats, with bad oars and no sail; after thirteen days during which half of the survivors died, they made landfall upon the coast of Yucatán.	他們坐著船上的小艇在海上漂流，槳壞了，也沒有船帆；13 天後，一半的生還者也死了。最後在猶加敦海邊上岸。
There they were seized by Halach Uinik, a Maya lord. Captain Vildivia was sacrificed with four of his companions, and their flesh was served at a feast.	這些人被馬雅貴族哈拉奇・烏以尼克捕獲。巴狄維亞船長犠牲了四個同伴才活下來，他們的肉被煮來吃。
Aguilar and Guerrero were held prisoner and fattened for killing, together with five or six of their shipmates.	阿吉拉爾、格雷洛和另外五六個人被關起來，養肥了待宰。
Aguilar and Guerrero managed to escape their captors and fled to a neighbouring lord who was an enemy of Halach Uinik; he took them prisoner and kept them as slaves.	阿吉拉爾和格雷洛成功越獄，逃到鄰近與哈拉奇・烏以尼克為敵的貴族那裡；但兩人被當做囚犯，成了奴隷。
After a time, Gonzalo Guerrero was passed as a slave to the lord Nachan Can of Chetumal.	不久後，貢薩羅・格雷洛以奴隷之身，被送到切圖馬爾貴族納坎・坎處。
Guerrero became completely Mayanised and served his new lord with such loyalty that he was married to one of Nachan Chan's daughters, Zazil Ha, by whom he had three children.	格雷洛完全馬雅化，忠心侍奉新主人，後來取了納坎・坎的女兒莎吉爾・哈，生了三個孩子。
The Acra was not the first Hellenistic stronghold in Jerusalem.	阿克拉不是耶路撒冷頭一個希臘要塞。
Sources indicate that an earlier citadel, the Ptolemaic Baris, had also occupied a location overlooking the Temple's precincts.	資料指出有一個更早的要塞托勒密堡壘，曾經佔有一個可以監視神廟區域的地點。
Although the exact location of the Baris is still debated, it is generally accepted to have stood north of the Temple Mount on the site later occupied by the Antonia Fortress.	該堡壘實際所在地點雖然仍在爭議之中，但大家都同意的說法，是它位於神廟山的北側，後來該地成為安東尼亞要塞所在地。
The Baris fell to Antiochus III at the turn of the 2nd century BCE and is absent from all accounts of the Maccabean Revolt.	在進入西元前 2 世紀時，該堡壘落入安條克三世之手，而且在馬加比起義中的所有述說中都未曾提及。
Despite the narratives which have the Acra constructed within a very short time-span, it was nevertheless formidable enough to weather long periods of siege.	雖然各種說法都指出阿克拉是在極短時間內建成，但仍然足以抵禦長期的圍困。
These factors, coupled with references in which the Baris was itself called an acra, have led some to suggest that the Baris and the Acra were in fact the same structure.	因為這些原因，再加上該堡壘也有人稱之為一個阿克拉，因此也有人說這兩者其實是同一個建築物。
Although both 1 Maccabees and Josephus seem to describe the Acra as a new construction, this may not have been the case.	雖然馬加比一世和約瑟夫斯都把阿克拉當做新建築物，但事實可能並非如此。
Antiquities of the Jews 12:253 may be translated to give the sense that the "impious or wicked" had "remained" rather than "dwelt" in the citadel, which could be taken to mean that the Acra had been standing before the revolt and that only the Macedonian garrison was new.	猶太古史 12:253 或許會讓人以為「褻瀆者或惡人」「仍然駐守」而非「住在」該堡壘中，但也可以認為阿克拉早在起義前就已建成，只有馬其頓要塞才是新建的。
Koen Decoster proposes that Josephus wrote of "a citadel in the lower part of the city" to an audience that would have been familiar with the Jerusalem of the 1st century CE—a city that did feature two citadels: the Antonia Fortress and the Herodian palace.	柯恩・迪可斯特認為約瑟夫斯寫下的「在城市下方的堡壘」，對讀者來說可能像西元後第一世紀的耶路撒冷一樣熟悉，該城市正好有兩座要塞：安東尼亞要塞與希臘神殿。
As Josephus' Roman Jerusalem had already expanded to the higher western hill, "a citadel in the lower city" could have referred to anything located east of the Tyropoeon Valley, including the Antonia which stood north of the Temple and did indeed rise above and dominate it.	約瑟夫斯所寫的羅馬化耶路撒冷，城區已擴及西邊的高丘上，因此「在城市下方的堡壘」指的可能是任何在泰羅邊谷東邊的地方，包括樹立在神廟北方，確實崛起並控制神廟的安東尼亞。
In his view, this is the place Josephus must have had in mind when he wrote of the Acra.	在他看來，這就是約瑟夫斯在撰寫阿克拉相關描述時所指的地方。
Opponents of a northern location counter that this site is not supported by the historical sources, and that this would place the Acra away from Jerusalem's population center.	反對北方地點說的人認為，該地點並無歷史資料佐證，而且這種說法會使阿克拉遠離耶路撒冷人口集中的地區。
Unlike its predecessor and successor citadels, it was not meant as a defence against external threat, but rather to oversee the inhabited Jewish parts of the city, a role incompatible with a proposed northern location.	和之前與之後的要塞不同的是，其建造目的並非用以抵抗外敵，而是要監視市內的猶太人區；如果要塞建在北邊的話，就達不到此目的。
The available sources do indicate the Acra stood south of the temple, and because 1 Maccabees is a contemporaneous account of the Maccabean revolt, its account of the Acra (1:35–38) is considered the most reliable.	現有資籵確實指出阿克拉位在神廟南側，再加上馬加比一世是馬加比起義同時代的人，因此他對阿克拉的說法 (1:35-38）最為可信。
Josephus provides an unlikely account of the razing of a hill on which the Acra had stood, yet his description of the end of the Great Revolt (70 CE) provides additional evidence for it being located south of the Temple Mount:	約瑟夫斯有個不太可信的說法，說是鏟平了阿克拉所在的山頭；但他關於大起義 （西元 70 年）結束的說法，倒是為其位在神廟南方提供了額外的證明：
...but on the next day they set fire to the repository of the archives, to Acra, to the council-house, and to the place called Ophlas; at which time the fire proceeded as far as the palace of queen Helena, which was in the middle of Acra;	...但在隔天，有人在藏書閣、阿克拉、議事堂、歐法拉斯等地縱火；當時火勢甚至波及阿克拉中的海倫娜皇宮；
— Flavius Josephus, The Wars of the Jews 6:354	－ 弗拉維斯・約瑟夫斯，猶太戰役 6:354
As the other buildings mentioned in the account all stood to the south in the Lower City, this also places the Acra there.	在描述中，其他建物都位於下城的南方，也包括阿克拉在內。
This account attests to the persistence of the name "Acra" in this part of Jerusalem many years after Hellenistic rule ended and its citadels had been overthrown, and it can also be seen as referring not to a distinct building but rather to an entire region of the city.	這種說法證實了在猶太區的阿克拉之名，即使在希臘統治結束，其堡壘都被攻破後仍然流傳多年；另一佐證是它不只用來指稱特定建築，更是整個城區的代稱。
Indeed, several clauses in 1 Maccabees may be read as making a similar point:	確實，馬卡比一世的述說中有多個部分都持類似觀點：
The "Right Action" official video was released on 7 July 2013, directed by Jonas Odell, and the video for "Love Illumination" was released on 24 July 2013, directed by Tim Saccenti.	「正確行動」的官方影片於 2013 年 7 月 7 日推出，由 Jonas Odell 導演，而「愛之光」影片則於 2013 年 7 月 24 日推出，由 Tim Saccenti 執導。
On YouTube, the "Right Action" music video has received over 3 million views and the "Love Illumination" music video has received over 4 million views.	在 YouTube 上，「正確行動」的 MV 有 300 萬次以上觀看，而「愛之光」MV 則有超過 400 萬次。
The "Evil Eye" official music video was released on 8 September 2013 and was directed by Diane Martel, who is known for directing videos for various Top 3 hits such as "Blurred Lines", "Just Give Me a Reason", "We Can't Stop", and one of the bands' hit singles, "Do You Want To".	「邪惡之眼」官方 MV 於 2013 年 9 月 8 日推出，由 Diane Martel 執導；她也是另外三支熱門 MV「糢糊界線」、「給我一個理由就好」、「我們停不下來」與該樂團另一支熱門單曲「你想要嗎」的導演。
The band released the official video for "Bullet" on 18 November 2013 and was directed by Andy Knowles.	該團為「子彈」於 2013 年 11 月 18 日推出另一支官方 MV，由 Andy Knowles 執導。
The official music video for "Fresh Strawberries" was released on 12 March 2014 and was directed by Margarita Louca.	「新鮮草莓」的官方 MV 於 2014 年 3 月 12 日推出，由 Margarita Louca 執導。
The official music video for "Stand on the Horizon" was released on 3 August 2014 and was directed by Karan Kandhari.	「站在地平線上」的官方 MV 於 2014 年 8 月 3 日推出，由 Karan Kandhari 執導。
On 20 August 2013, the band played at Electric Brixton in London, for a crowd of approximately 1,500 fans.	2013 年 8 月 20 日，該團在倫敦的 Electric Brixton 表演，觀眾人數約有 1,500 人。
The opening song was "Right Action" and the concert featured several songs of the new album.	開場歌曲是「正確行動」，演唱會中也有多首新專輯中的歌曲。
A concert in Glasgow followed on 21 August 2013.	2013 年 8 月 21 日接著在格拉斯哥舉辦另一場演唱會。
The band went on a world tour until the near end of 2014, performing both regular shows as well as concerts at several music festivals.	該團在 2014 年末之前展開全球巡迴，在多個音樂節中舉辦一般演出或演唱會。
The property has two remaining outbuildings.	那塊地上還留有兩棟附屬建物。
The barn is where Glidden invented his famous improvement on barbed wire.	倉庫是 Glidden 發明著名的改良刺鐵絲網的地方。
Dubbed "The Winner," his barbed wire became the most popular version of the invention.	他的刺鐵絲網又名「勝利者」，變成其發明中最普及的一項。
Barbed wire is considered to be one of the most important factors in American progress and settlement.	刺鐵絲網被視為美國拓殖的重要因素之一。
The other outbuilding on the property along historic Lincoln Highway are the remnants of a once dominating windmill.	在那塊地上的另一棟建物，就在歷史悠久的林肯公路旁，是個曾經風光一時的風車遺址。
Though only the foundation remains, it gives a glimpse of how impressive the structure must have once been.	雖然現在只剩下基座，但可以想見當時的結構有多令人印象深刻。
The Glidden Barn, located to the rear and east of the home, was thought to have been added to the National Register of Historic Places when the original nomination for the house was approved in 1973. However, in the late 1990s, the Illinois Historic Preservation Agency revealed that the nomination included only the house.	Glidden 的倉庫位在其住宅後方東邊處，一般都以為已在 1973 年其住宅獲選登錄為國家歷史遺跡名單中時，也一同列入；但直到 1990 年代後半，伊利諾州歷史保護局才發現，當時列入名單的只有住宅而已。
The Glidden Historical Center initiated the process of adding the barn to the Register.	Glidden 歷史中心發起申請，要將倉庫也列入名單中。
Those moves were approved by the Illinois Historic Sites Advisory Council in 2002 and the barn officially became part of the National Register.	2002 年時伊利諾州歷史遺址顧問委員會批准其申請，倉庫正式成為國定古蹟。
The barn was built sometime around 1871, possibly even before, and is constructed of the same soft brick that makes up the exterior of the home.	該倉庫建於 1871 年前後，可能更早一點，和住宅外牆採用相同的軟質磚塊建造。
Tradition in the Glidden family holds that the barn, like the house itself, was designed and built by prominent local carpenter Jacob Haish.	由於 Glidden 家族的習慣，其住宅和倉庫都由當地十分有名的木匠 Jacob Haish 設計建造。
The famous barn, one of DeKalb County's oldest remaining, stands a full two-stories high, measuring around 50 feet (15 m) tall, with a width of 30 feet (9 m).	這個遠近馳名的倉庫，是 DeKalb 郡最古老的古蹟之一，有整整兩層樓高，約 50 呎 (15 公尺)，寬 30 呎 (9 公尺)。
In February 2007 the Glidden Homestead and Historical Center kicked off a fundraising drive.	2007 年 2 月 Glidden 產業與歷史中心發起募款活動。
The drive is aimed at raising US$2 million to expand the Joseph F. Glidden House site to include museum space and a media center.	活動目標籌措 2 百萬美元，以擴建 Joseph F. Gidden 住宅園區，以包括博物館空間和媒體中心。
Some of the funds will be used to help restore the barn and expand historical center museum space into the building.	部分款項用於整修倉庫，並將歷史中心博物館擴建到建物之中。
The Glidden barn is of pole and beam construction.	Glidden 倉庫是樑柱式的結構。
The second-floor interior is dominated by two large transverse wooden beams.	二樓內部主要是兩根大型木製橫樑。
It is of the three-bay, English tradition, the west bay containing a space for a stairwell leading to a hayloft and seven stalls.	其為英國傳統三間式設計，西側間包括一個通往乾草棚和七個馬房的樓梯間。
It is constructed of red brick and stands on a foundation of limestone.	在石灰石地基上以紅磚搭建。
Glidden's barn took full advantage of the term vernacular; the brick was locally manufactured and the limestone locally quarried.	Glidden 倉庫充分就地取材，磚塊為當地燒製，石灰石也是在當地採得。
After touring with Something Corporate in January and February 2005, McMahon began playing shows with Jack's Mannequin in March and debuted material from the project.	在 2005 年 1 月與 2 月和義和國樂團巡迴演出後，三月起麥馬漢開始和 Jack's Mannequin 樂團共演，也首演了專案中的一些素材。
McMahon's backing band, named the Mannequins, consisted of Anderson and Jacques Brautbar on guitar, Jon Sullivan on bass and Jay McMillan on drums.	與麥馬漢共演的樂團叫做 Mannequins，由 Anderson 與 Jaques Brautbar 任吉他手，Jon Sullivan 任貝斯手，Jay McMillan 任鼓手。 
Anderson studied music with Sullivan at Virginia Commonwealth University; Sullivan had been friends with McMillan for a few years.	Anderson 和 Sullivan 一同在維吉尼亞聯邦大學修習音樂，Sullivan 和 McMillan 則是多年好友。
On April 17, Jack's Mannequin's debut album was announced for release in the coming summer through Maverick Records.	4 月 17 日，Jack's Mannequin 宣布將透過小牛唱片公司，於接下來的夏天推出首發專輯。
Another announcement followed four days later, revealing the album's title, Everything in Transit, and the release date of July 12.	四天後又公布了專輯名稱「Everything in Transit」，發行日為 7 月 12 日。
In May, the group embarked on a six-week tour to build up hype for the album.	五月時，該樂團開始為期六週的巡迴公演，以炒熱專輯的聲勢。
On May 10, "Holiday from Real" was released as a 7" vinyl single, featuring two versions of "Kill the Messenger" (the album version and an acoustic version) as B-sides.	5 月 10 日，「Holiday from Real」專輯以 7 吋單曲黑膠唱片發行，B 面收錄兩種版本的「Kill the Messenger」(唱片版與不插電版本)
On May 20, two songs were made available for streaming through the band's Myspace account.	5 月 20 日起，兩首歌都可在樂團的 MySpace 頁面中透過串流收聽。
Two days later, it was announced the album's release date was pushed back to August 9 as "Dark Blue" was written and recorded for inclusion on it.	兩天後，該團宣布專輯發行日期延後到 8 月 9 日，因為「Dark Blue」已經寫好錄好，且將收錄於專輯內。
Around this time, McMahon started feeling sick while on tour, suffering from chronic fatigue and laryngitis.	就在此時，麥克漢在巡迴演出中感到身體不適，苦於慢性疲勞與喉炎。
On May 25, he contacted his doctor, who said he should cancel the following night's show as he could face permanent damage to his voice.	5 月 25 日他去看醫生，醫生說他應該取消接下來所有的夜間表演，因為這可能永久傷害他的聲音。
He met with his doctor who ran some blood tests after seeing McMahon's pale complexion.	醫生看到他臉色萎黃，為他抽血檢查。
Two days later, during a mastering session for the album, McMahon received a phone call.	兩天後，當麥克漢正在進行專輯混音時，接到一通電話。
His doctor said he needed a blood transfusion.	醫生說他需要進行輸血。
He checked in to the Presbyterian Hospital in New York City, where he was sent directly to the leukemia ward.	他住進紐約市的長老教會醫院，立即被送進白血病房。
McMahon spent the next few days waiting for the results of a bone marrow sample taken from his hip.	麥克漢花了幾天，等待自臀部抽出的骨髓檢驗報告。
On June 1, he was diagnosed with acute lymphoblastic leukemia.	6 月 1 日診斷結果出來，是急性淋巴性白血病。
All upcoming tour dates with both Jack's Mannequin and Something Corporate were postponed indefinitely.	所有後續和 Jack's Mannequin 與義和國的演出，都無限期延後。
He flew to Los Angeles and was admitted to the UCLA Medical Center and underwent a first round of chemotherapy.	他飛到洛杉磯，進入 UCLA 醫學中心，進行第一輪化療。
As he was at an unusual age to get cancer, there was a debate whether to put him on an adult regimen or a vigorous pediatric treatment.	由於他這個年紀通常不該得到癌症，因此為了要以成人療程或少年兒科進行，有過一番爭論。
Director Anthony Mandler filmed the music video for "Only Girl (In the World)" at a location two hours from Los Angeles.	導演 Anthony Mandler 在離洛杉磯兩小時車程的地方，拍攝「Only Girl (in the World) 」的 MV。
Rihanna told JustJared.com that the video was filmed in a "big landscape" so she was the only person in the frame, echoing the song's title.	蕾哈娜告訴 JustJared.com 說，MV 是在一個「大外景」拍攝的，她是畫面中唯一的人，呼應了曲名。
The singer is also "frolicking in a red field and lying in a bed of flowers." The video features large balloons in different colours, a swing hanging from the sky and a tree with multi-colored lights.	歌手也「在一片紅色田野間嬉戲，躺在花床上」。影片中有許多不同顏色的大氣球，有個從天空垂吊下來的鞦韆，以及一棵裝飾著五彩燈光的樹木。
Rihanna's outfits include a mohair sweater, a floral miniskirt and a white-bra-and-boyshorts two-piece.	蕾哈娜穿著一件毛海毛衣、花樣迷你裙，兩件式的白胸罩與白色四角短褲。
Entertainment Weekly writer Tanner Stransky praised the video's simplicity, noting that it seems "as if Rihanna is speaking directly to you, the viewer, and she is your one and only amid swallowing rolling, beautiful, swallowing landscapes.	娛樂周刊作者 Tanner Stransky 讚許該 MV 的簡單，指出「蕾哈娜看來就像直接對著身為觀眾的你說話，在美麗壯觀的風景中，她就是你的唯一。
It's an effect that makes you focus squarely on [Rihanna], who's ensconced in flirty outfits." According to Joyce Lee of CBS, Rihanna appeared to have progressed from the "edgy" music videos of the Rated R singles to a more feminine, colourful tone.	這種效果讓你感到，你是直接面對著穿著十分調情的蕾哈娜。」CBS 的 Joyce Lee 則說，蕾哈娜這支 MV 像是從限制制「邊陲」進步到更為女性化，更多彩的調性。
A Mail Online reviewer and Seth Sommerfield of Spin echoed Lee's comments, with the former calling it "beautifully shot" and the latter "whimsical [and] beautiful".	郵報線上的一位評論家說「拍得非常美」，Spin 的 Seth Sommerfield 則評論說「令人暇想且美不勝收」。
The Mail Online reviewer called the video a departure from the "hard-edged, heavier image" music videos of Rated R.	郵報線上的評論，說這支 MV 擺脫了限制級 MV 的「粗糙沉重印象」。
Billboard reviewer Jason Lipshutz described the tree with flashing lights as "surreal imagery."	告示牌評論家 Jason Lipshutz 則說掛滿閃耀燈光的樹木「帶來超現實的映象。」
Rihanna performed "Only Girl (In the World)" and a solo version of "What's My Name?" on Saturday Night Live in New York City on October 30, 2010.	2010 年 10 月 30 日，蕾哈娜在紐約市的週六夜間現場中表演了「Only Girl (In the World)」和「What's My Name?」的獨唱版本。
The next day, she flew to London to perform the song on The X Factor.	隔日她飛往倫敦，在 The X Factor 演唱該曲。
Rihanna's dancers had a food fight with cakes and cream while she sang, and the show's producers had only one minute to clear the stage before the weekly elimination results were announced.	蕾哈娜的伴舞在她演唱時，在台上互擲蛋糕和奶油打食物大戰；演唱會製作人在宣布當周淘汰名單前，只有一分鐘可以清理舞台。
On November 7 she performed the song at the MTV Europe Music Awards in Madrid, wearing a "fairy tale"-inspired ensemble and walking through a set of flowers against a sunset.	11 月 7 日，她在馬德里的 MTV 歐洲音樂獎典禮上，穿著「發想自童話故事」的整套服裝，從夕陽下的花海中走上舞台演唱本曲。
Two days later, Rihanna sang "Only Girl (In the World)" on the Italian version of The X Factor in a floral-print bikini, boots and a red pigtail.	兩天後，蕾哈娜在義大利版的 The X Factor 獻唱「Only Girl (In the World)」，穿著印花比基尼、長靴和紅辮子。
The next day she flew to France to sing the song on Le Grand Journal, on a set covered with white balloons.	隔天她飛到法國，在 Le Grand Journal 一個舖滿白色氣球的舞台上演唱該曲。
The singer returned to London on November 11 to record an interview for The Graham Norton Show, which included a live performance of "Only Girl (In the World)".	11 月 11 日，她回到倫敦接受 The Graham Norton Show 專訪錄影，訪問中也演唱了「Only Girl (In the World)」。
Rihanna opened the American Music Awards with a medley of songs from Loud.	蕾哈娜在美國音樂獎開場時演場 Loud 組曲。
She began with an a cappella version of "Love the Way You Lie (Part II)", sitting on a stylized tree of lights above "a field of sable-colored blades of grass." Rihanna then sang a solo version of "What's My Name?" and a short version of "Only Girl (In the World)". According to Mawuse Ziegbe of MTV News, the singer "kicked up the island theme" as drummers in tribal dress circled her.	She began with an a cappella version of "Love the Way You Lie (Part II)", sitting on a stylized tree of lights above "a field of sable-colored blades of grass." Rihanna then sang a solo version of "What's My Name?" and a short version of "Only Girl (In the World)". According to Mawuse Ziegbe of MTV News, the singer "kicked up the island theme" as drummers in tribal dress circled her.  她以無伴奏的「Love the Way You Lie (Part II)」開場，坐在一棵掛了頗具設計感燈光的樹上，下方是暗褐色的一片草地」。蕾哈娜接著演唱獨唱版的「What's My Name?」，以及縮短版的「Only Girl (In the World)」。MTV 新聞台的 Mawuse Ziegbe 說，當一群鼓手穿著部落服裝圍繞著她時，她「激起了島嶼風」。
Rihanna performed a short version of "Only Girl (In the World)" at the 31st Brit Awards on February 15, 2011, as part of a medley with two other singles from Loud: "S&M" and "What's My Name?". She had planned to perform "S&M" only (to coincide with its United Kingdom release), but was asked by the British Phonographic Industry to "tone down the sexual references in the song's lyrics".	2011 年 2 月 15 日，蕾哈娜在第 31 屆全英音樂獎上演唱縮短版的「Only Girl (In the World)」，並與其他兩首 Loud 單曲「S&M」和「What's My Name?」組成組曲一同演唱。本來她只計畫演唱在英國發行的「S&M」，但英國唱片協會要求她「降低歌詞中的性暗示」。
Rihanna was reportedly angered at the request and a related one to perform a different song.	據報蕾哈娜對此要求，以及另一個要她演唱其他曲目的相關要求十分火大。
